[2024.05.11] Quadruple Axel 2024 Yuzuru Hanyu SPECIAL

[yuzurujenn]

Info: 

https://x.com/AxelQuadruple/status/1785923918215446592

 

https://www.yamakei.co.jp/products/2823907850.html

 

Yuzu's comment:

 

 

 

Release date: Released on May 11, 2024
Sales price: 2,860 yen (2,600 yen + 10% tax)

 

Close coverage of top skaters!
Special bonus: Yuzuru Hanyu poster

 

[Exclusive interview]
Yuzuru Hanyu
"The words of determination are 'I will change the world!'"

 

[Ice show report]
"Yuzuru Hanyu notte stellata 2024"
"Yuzuru Hanyu ICE STORY 2nd "RE_PRAY" TOUR"

[Talking about Yuzuru Hanyu]
Shae-Lynn Bourne "Sublimation into an artist"

Mura Takahito " An evolving athlete"

Tanaka Keiji "Building on solid technique"

MIKIKO "A solitary realm"

Kiyozuka Shinya "A one-of-a-kind performer"

Hara Taketoshi "A very personal review of 'RE_PRAY'"

[Popular series] "Words of Tsuzuki Shoichiro" by Utsunomiya Naoko

[Photo gallery] "Fantasy on Ice 2023"

[Special gallery] "The Real: A beautiful and courageous figure in practice clothes - Ice Show Special"

[Special feature] Yuzuru Hanyu x Phiten "For the best performance"
 

[Wintek]

*Machine translation from Japanese to English. Inaccuracies exist*

 

Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 06-31
Info: https://www.yamakei.co.jp/products/2823907850.html

 

Quardruple Axel May 2024 Issue: Special Interview, Yuzuru Hanyu

 

Yuzuru Hanyu announced his transition to professional skating in July 2022.

Beyond the boundaries of competition, in the world of unconstrained expression,he has not only used his outstanding skating skills as an athlete, but has also evolved to create new performances as an artist. Why did Hanyu perform his first performance as a professional, "Prologue," alone?

How did he pursue the possibilities he saw from there?

In addition, he will talk about the struggles and accomplishments he faced while drawing his ice story with his solo performance at Tokyo Dome, "GIFT," his first national tour, "RE_PRAY," and his thoughts for his fans.

Hanyu, who shines as a "solitary" presence, spoke in detail about the feelings he has had throughout his professional journey, based on his experiences as an athlete.

 

Interview and text by Mitsuru Tanaka (Associate Professor at Shobi University/Sports Writer)

 

March 11th. As I entered a hotel room in Sendai City, Hanyu welcomed me with a gentle expression. He had just finished "Hanyu Yuzuru Notte Stellata 2024," an ice show in the disaster-stricken area that he hosted from the 8th to the 10th. He should have been exhausted, but he showed no signs of it. When he saw the tote bag I was carrying, he said, "That's a (novelty) from the All Japan Junior High School Skating Championships, isn't it? It brings back memories..." to lighten the mood. He spent an hour with me, including the time for filming.

 

Spoiler

–Thank you for taking time out of your busy schedule today.

 

Hanyu  Thank you very much. Are you nervous?I'm not nervous at all, I'm fine. I haven't changed at all!

 

–Thank you. I look forward to working with you.

 

Hanyu  I look forward to working with you.

 

— You are now in the middle of your second year as a professional skater, and I feel that you have raised another hurdle for yourself in your pursuit and deep consideration of expression and skating, as well as in your overall direction. Specifically, it is stamina in mind, technique, and body. In conventional ice shows, except for the opening number and the finale, each skater performs at most two programs, one in the first half and one in the second half. In such a situation, Mr. Hanyu has completed his performance by himself. It must be quite a challenge for you to perform nearly 10 programs by yourself, but first of all, please tell us why you decided to "perform alone" when you turned pro.

 

Hanyu  I skated three programs at "Yuzuru HANYU NOTTE STELLATA 2024" (which was held until the day before the interview). To tell you the truth, it was very hard just to skate 3 programs (laughs). (laughs) I have been, as I still am now, facing figure skating as a sport of skating. As for why I decided to hold a solo show, I have been hearing from people who want to see Yuzuru Hanyu's skating, as I have continued skating since I became a professional skater. Then, I thought, "Why don't I create an environment where people who want to see me skate can watch me skate all the time?”

 

During "Prologue", the MC was long, and the number of program lines was definitely less than now. That's why, although it wasn't easy physically, I was able to skate in a more relaxed environment than now. After experiencing this "Prologue", I was able to get a sense that "I can continue to show my programs by myself."  Of course, I don't think I was able to show everything by myself. In fact, I wouldn't say that all the performances were perfect. Even during "RE_PRAY" the other day, not all the performances were perfect. I think it is a lot of work to do everything by myself, and it is physically demanding as well, but as I practiced for the solo show, I began to get a better and better feeling that I could "definitely" perform by myself. 

 

–I think that with each successive performance, from the first "Prologue" to "GIFT" and "RE_PRAY," you are taking on tougher and tougher programs. Not to mention your physical strength, you are under pressure as a solo performer, as you are not allowed to cancel due to illness, and you continue to perform in a way that always exceeds the expectations of the audience. The daily practice must be quite taxing.

 

Hanyu  Perhaps it is natural since I am doing this as a professional, but to be honest, I have trained much more than when I was a competitor. When I think back to my competitive days, I only had to practice at most three programs (Short, Free, and Exhibition) during the season. With the number of programs narrowed down, I could practice with more concentration. However, after becoming a professional, I will skate more than 10 programs for a single performance. For a program that is comparable to a free program, you will definitely need to practice 7 jumps, even if you skip steps and spins. If you skate many other programs, you will have to practice not only jumps, but also many other things for each program.

 

On top of that, it is not enough to just practice in quantity. If you do a lot of practice, you will certainly build up stamina. However, that alone will not maintain and enhance your physicality. Figure skating also requires instantaneous movements. In order to keep showing the best performance, in addition to the quantity of so-called physical training, training to improve one's physical condition and physicality is also indispensable. So now I am in a very strange situation (laughs).

 

–On February 19th at the "RE_PRAY" Yokohama performance, you said that you were "training about six hours a day." Is that a considerable amount of training?

 

Hanyu  Yes, at that time, I was not able to perform to my satisfaction at the Saga performance (January 12th and 14th), and I felt very bad about myself. From then on, I studied what kind of training I should do and fought with myself for a month. (Editor's note: As a result, in the final performance on February 19th, which was open to the media, he performed "Envoy to Destruction", which is comparable to the free program, without any mistakes for the first time.) After that, I had to practice for "notte stellata", which had three programs. Moreover, two of the songs were new programs. The new songs were choreographed in December last year, but I had not been able to practice them (due to adjustments for "RE_PRAY"). So, I started by working on remembering the choreography.  Of the two new songs, I was given the choreography for the second half of "Carmina Burana" after the Yokohama performance of "RE_PRAY", so I started practicing from there, and then an additional performance of "RE_PRAY" was decided, so I had to practice for that as well.

 

In that sense, it's very difficult, but I'm always thinking about how I can continue to evolve in the midst of that. For example, as I said earlier, I'm "studying", but I refer to the training methods and training skills of people who teach top athletes in other sports, or watch paid lesson videos, and read papers. Most of them were in English, but I learned and absorbed various things from them, and created a menu while thinking about how I could use them for my own training.

 

—The experience of performing nearly 10 programs in 2.5 hours by yourself is also something you never had when you were a competitor. In competitions, you focus on the short and free skates one day at a time, rapidly increasing his concentration, but in your current solo performance, you are sticking to your style of putting your full effort into every program. During the two-and-a-half-hour performance, in order to be able to hit the peak of each program and demonstrate concentration and explosive power over and over again, I wonder if there have been changes in your “body clock”' compared to his competitive days.

 

Hanyu  Ah, I see (laughs), that's an interesting question. In my mind, I don't have the image of simply running a long distance (a two-and-a-half-hour solo performance). Well, it might be helpful to imagine the difference between a marathon and a relay race. In a marathon, one runner continues to run. The 42.195km course has ups and downs, as well as headwinds, so I think you'll need a strategy to properly distribute your pace. In contrast, in a relay race, multiple runners run their own sections, and all of them work together to reach the goal. Some runners are good at running long stretches, while others are good at running short stretches at a fast pace. Each person puts their full effort into their assigned part, and all of them combine to complete the race as a team.

 

My performance is like a marathon, where I am running alone the whole time, but in reality, each program is like a section of a relay race. So some programs are long, like a free program, and some are short. And I always try to perform to the best of my ability in all of them. Like a marathon, I am running the whole distance by myself, but in reality, there is Yuzuru Hanyu who is responsible for each of the bouts, and each Yuzuru Hanyu is skating one program at his best, and when all of them are combined, it is one “solo performance” piece. In my image, it is similar to the feeling of running a relay race alone.

 

Therefore, each program has completely different skating styles, techniques, and pace. I have to practice all of them one by one. During the actual performance, as long as the song is being played, no matter how much oxygen is lacking or how painful it is, you have to do it. That's because it's not just me, but the staff around me who are working hard to create it. So, I have to do it too. There were times when I cried out, “It's so hard,” and “I want to go home!” (laughs). Going back to the topic, I don't think in terms of pacing (preserving physical strength), but rather I train to be able to continue to give my all in accordance with each program.

 

– When you are in physical pain, when you push yourself to the limit, you seem to be squeezing stamina out of the limit. Do you have the strength to go beyond the limits?

 

Hanyu I am very happy with the support of the audience, I believe there is a kind of unseen strength, akin to the reckless determination one might have in a crisis situation like a fire. However, I also realize that there is a limit to that. In my sense, it is possible to summon up about 20% of the surplus when the limiter is removed. However, since my days as a competitor, I have always skated in a style in which I always give 20% of my surplus from the beginning. In such a situation, the surplus is used up, so if I run out of stamina in the middle of a program, I get the sensation that my body stops at once. So it is important how to recover between programs, when I take off my skates and change my costume, but in reality, it is also difficult. It takes a lot of grip strength to loosen the laces and then tighten them again.

 

In fact, depending on how you tighten the laces, you could change your performance or risk getting injured, so you can't afford to lose concentration here either. At the same time, I think about things like “How should I recover my body right now?” and “How should I change my physical condition and tempo for the next performance?” I'm getting through it somehow. If you can't do anything about your physical strength, all you have to do is use your willpower to move your body.

 

So, rehearsals are very important. For “RE_PRAY,” there is a free skate (“Envoy to Destruction”) at the end of the first half, and in rehearsals, I skate the entire first half and then skate through “Envoy to Destruction” twice more. So I sometimes run “Envoy to Destruction” three times and then simulate the entire piece. Or I may shorten the 30-minute break between the first and second halves to 15 minutes and skate immediately, or I may skate through the final “Roncapu” (“Introduction and Rondo Capriccioso”) steps three times and add something extra. Compared to rehearsals, the performance is definitely more strenuous, so I try my best to last until the end. In terms of study, I also train while scientifically considering the energy efficiency of the muscles, the amount of oxygen that the cells themselves can take in, and the amount of oxygen that the red blood cells can carry.

 

–I feel that it is a spectacular practice. On the other hand, since turning professional, you have performed many jumping elements and performances that go beyond the framework of competition regulations and rules. Looking back on your time as a contestant, did you have any struggles in performing while being bound by the rules?

 

Hanyu  I myself use the word “rules” in “RE_PRAY,” and when I think about my competitive days, there is no doubt that I was bound by scores. For example, in a certain melody, you may say, “I don't want to jump, but I want to do something more expressive,'' or “Actually, I want to express it this way, but in order to get points, I need to do something more expressive.'' It's true that you might think, “I have no choice but to jump this jump,” and so on, you'll need this much run-up, and you'll have to secure that distance. Or, to be honest, there were times when I was playing a song and thinking, “take this step” or “put this spin in combination” while fitting it to the sound of the piece. In thinking about the expression of the program, I was bound by the score.

 

Of course, creating a program to get points is the real thrill of competition, isn't it? However, around the time I won Pyeongchang in 2018 (my second consecutive Olympic gold medal), I began to feel a sense of loneliness in thinking about programs for points. I started to feel like my GOE (technique performance score) had changed and my PCS (performance component score) had hit a ceiling. In the process, I was forced to think, “Well, what should I do to get a good score?” However, no matter how much effort I put into expressing myself, no matter how much I thought about sound, I still couldn't increase my PCS, or rather, I had reached a point where there was nothing I could do. In this situation, I had no choice but to raise base points of jumps, and to do so, I had to learn new techniques, so (as I was spending less time doing things other than jumping), I was no longer able to master everything. It's a difficult part of figure skating, but to be honest, there were times when I hit a wall because I was restricted by points when it came to balancing jumps and expression.

 

— As you mentioned earlier with regard to RE_PRAY, you are no longer bound by the scores now that you have become a professional. On the other hand, the loss of scores means, in a sense, that the limiter on evaluation has been removed. Did you face any difficulties in losing the “evaluation criteria” in exchange for the freedom of expression?

 

Hanyu  Thank you so much for your really great interpretation of “RE_PRAY”. I am so happy that I can't help smiling. I feel the difficulty of the fact that we can no longer see the correct or incorrect answer because there are no more scores or so-called results. However, as an artist, I believe that the process of finding the correct answer is almost the same as philosophy.

 

In “RE_PRAY,” I have used the trolley problem(*) for a while as a subject. I believe that the answer to this problem is not something that can be derived by anyone, and that each person has to come up with his or her own correct answer while thinking about it as a practical matter. In my mind, the correct answer is “I want to express myself in this way” or “I want to convey this world by incorporating sound for this expression,” right? However, other people may think “that's not what I meant.” Later, when it remains in the world, there may be people who think, “Yuzuru Hanyu (his expression, the world) was like this,” and there may be people who are extremely moved by it. When I think about it, it is difficult (to express oneself while losing the standard of evaluation), but I think it is worth pursuing, although it may seem like an athlete's way of thinking. I guess it's because I believe that there is something interesting about being able to keep thinking forever, being able to study and deepen forever, and keep evolving. In reality, I can't say that it is all “interesting” or “fun,” it is just a painful process (laughs). However, I still feel that there must be some correct answers and ways of thinking that I cannot see.

 

(*)Trolley problem: A trolley that has lost control has five workers ahead of it. The trolley can change course at a turnout on the track, but when it does, there is another worker ahead of it. The question is how you would act if you were near the turnout. Philosopher Philippa Foot presented this question in her paper. In RE_PRAY, a scene in which the viewer is forced to make a choice in response to this question is used as a scenario.

 

--How did you come up with the idea of using games as the basis for RE_PRAY?

 

Hanyu  As for “RE_PRAY,” I told them (including director MIKIKO and the other staff members) “I want to connect ice stories,” since I had created the foundation of the ice story “GIFT” at Tokyo Dome, and they listened to my request and created it from there. I had been struggling with how to create Ice Story Second, and kept thinking “what would be interesting as figure skating”. I thought that it would be fresh and interesting if I included what I am most familiar with as a method of expression, so I thought of a game as the basis.

 

---The projection on the screen, the selection of YES and NO buttons, and the different save dates for each performance have become a topic of conversation among fans, leading to various interpretations of the storyline. Can you tell us about your intention to create such a detailed story?

 

Hanyu  I think it all comes down to the fact that you are creating a story as a professional. In figure skating, the performance itself at any given moment is what makes it a work of art. In addition, the reaction of the audience and the atmosphere will form the feel of the live performance. That's why, as a professional, I pay particular attention to every detail.

 

– In the “RE_PRAY” video, there is a scene where Hanyu is holding a game controller and moving a character on the screen. That character is also Mr. Hanyu, isn't it? The way you control the character Yuzuru Hanyu, making yes or no choices as you go along, can be said to be a unique way of viewing the world that objectively captures your own self. When you were a competitor, for example, when you made a decision to go to Toronto, or to try a quadruple half, or to turn pro, did you feel that you were controlling Yuzuru Hanyu when you made your choices?

 

Hanyu  That's good, if you can interpret it that way. Thank you. I think I am a person with a strong sense of objectivity. When I am skating, or when I am being interviewed like this, I feel like I'm always looking down on myself (as if I am looking at myself objectively) or that I'm in control of myself. Maybe things like that were unconsciously included (in the process of creating RE_PRAY). In fact, I think "RE_PRAY" probably incorporates my life experiences.

 

Even when I'm talking to you like this, I say things like “That's interesting”' and “That's good,'' but even when I'm creating words, I often find myself using unique phrasing. I think it's very important to have a wide range of thinking and to have a variety of options. (The story of “RE_PRAY”) can be interpreted in many different ways, and in a sense, from the perspective of the fans who have fought alongside me, it is “Yuzuru Hanyu's story,” and for the first-time viewers, it can be seen as one of the ice stories. For those who have come to see the performance for the first time, it will be seen as an ice story. I think that those who came to the interview would think, “Yuzuru Hanyu spins his words in this way, so he must think in this way.” The programs exist with various interpretations, and that is what we have been trying to achieve in Ice Story, to make it a single piece of work. Therefore, I am most happy to receive a question from that perspective.
 

— In our conversation so far, we have learned that the training and practice as an athlete, as well as the themes, concepts, and attention to detail that go into the overall direction of a competition, take a tremendous toll on you physically, mentally, and emotionally. I remember when you told us at the press conference in July of 2022 that “Yuzuru Hanyu's presence has always been a burden”. Has that burden changed since you turned pro?

 

Hanyu   Hehehe, it is heavy. I still feel that it is very heavy, and it has not changed since my days as a competitor. I am still afraid that I will not be able to meet everyone's expectations, or I am worried about whether I am actually meeting them, and these thoughts are constantly present. 

I'm sure that when I no longer have those thoughts or no longer consider them a burden, that's when I've reached my limit. I can still see the ideal image that will meet everyone's expectations, and I want to aim for that. In other words, it is precisely because I feel that my potential (moving his hand upward) “is still here”, or “I can't live up to it because this is all I can do yet” that I have anxiety or fear that I may not be able to meet your expectations. It is extremely difficult to continue to evolve and reach the ideal, but I believe that the desire to achieve this goal is one of the driving forces behind the process.
 

—How do you spend your daily life, how do you see the distance between you and your ideal?

 

Hanyu  To be honest, I have a sense that I am pursuing an ideal, and that it has been going on for a long time, but to be more precise, the distance (to the ideal) is not a constant interval, and I think that sometimes it gets closer and sometimes it gets farther away. That hasn't changed since I became a professional or even when I was a competitor. For example, “SEIMEI” (the world's highest score at that time) that I skated at NHK Cup in 2015 was almost close to my ideal, and when I scored 322 points (in total with the short), I thought, “That's almost ideal. What should I do next time?” In a sense, I was satisfied with my performance. At that time, I was thinking about the next GP Final, “Can I exceed 320 points again,” “What should I look for next? But, after scoring 330 points at GP Final (Editor's note: Breaking new records in world history for both short and free skates, marking an unprecedented total of 330.43 points and winning for the third consecutive time), I was completely in sync with my ideal, then I was burnt out, my body had a hard time getting back into shape, and my legs hurt. If you do that, you will then return your ideals to your own position...

 

– In the interview after the Yokohama performance of "RE_PRAY", you said that your future plans were "completely empty". How are your next plans progressing?

 

Hanyu   I really don't have one at the moment. This makes me realize once again that I am now in a creative place. It is precisely because there is nothing that exists that I have to create, and because I am creating, it is of course difficult, but I think it is also fun and interesting. What is required today is, to put it bluntly, “something good.” What is the “good thing” that I am being asked to create, even though it is not concrete? I believe that everyone wants me to create it from “nothing.” I am truly blessed by the people around me. Regarding “RE_PRAY,” there are many people who are serious about creating it. In that sense, it's difficult for me to create a show myself, and the training I have to do to give a good performance and the actual performance are extremely tough, but at the same time, I always feel that we are creating a show as a “group of professionals,” and that we are really creating a top-class show, and at the same time, I feel that I have to be a top-class performer myself. I always feel the responsibility to be the best.

 

– Thank you very much for taking your valuable time today.

 

Hanyu  Thank you very much, too!

 

After the interview

 

Mr. Hanyu welcomed us into his hotel room, dressed in a black jersey, and carefully answered our questions for 40 minutes within the allotted one hour. There were times when he expressed his sympathy for our questions, saying, “That's good” or “I'm glad you asked. The power of Hanyu's words and the passionate tone of his voice were full of the charm of the words he spins, which are different from those he spins on the ice. At the end of the interview, I asked him to write his resolution for the future on a piece of colored paper. “Hmmm, I wonder what it is,” Mr. Hanyu faced the colored paper with a serious expression, and a long silence passed. Eventually, he said, “I can say it verbally, but I wonder how it would be when I put it into words,” and then said, “Change the world!”' [「世界を変える!」]. When I asked him what he meant by “world,” he answered, “Not only do I want to change the field in which I am fighting in now, but I also want to change the world that everyone is watching,” revealing his grand theme.

 

During the photo shoot, he struck pose after pose in response to the photographer's requests. Chatting, smiling, and “deciding on an expression” in the split second he faced the lens made me realize for myself the power of Mr. Hanyu, an expressive artist who has faced the shutter tens of thousands of times.

 

While waiting for the camera to be set up, I asked him, “When you were a competitor, you said, 'I love having a wall in front of me.’ When I asked, ‘Do you still like to face walls now that you are a professional?’” Hanyu compared himself to an “ant” and spun these words.

 

“When I was a competitive athlete, I had to keep track of scores and grades, so before I knew it, the wall I was trying to overcome was right in front of me. Right now, I'm trying to find a wall. The image is that because you “want to do more” or “become stronger,” you build a wall and overcome it. For example, let's say there's a really big staircase here, and I'm a little ant. After all, stairs are stairs, not walls. However, if I want to “move on to the next stage,” I have to treat the stairs as a wall and climb up, since I am like an ant. It's like finding a wall on your own and climbing it in order to evolve, but I don't think what I'm trying to say has changed (that I love it when there's a wall to overcome).”

 

The interview took place on March 11. The interview ended shortly after 2:30 p.m. As we were taking down the filming equipment and putting the sofas and tables back in their original positions, 14:46 arrived, the same time as “that day.” Mr. Hanyu turned his body toward the sea through the window and silently offered a silent prayer. Although he himself was a disaster victim, Mr. Hanyu poured his all into the show to bring a “light of hope” to the disaster-stricken areas. His back view was that of a 20-year-old human being without the “absolute champion” armor. Hanyu did not turn his body away from the window for a while. Eventually, he held his eyes repeatedly with his hands.

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: https://weibo.com/1746783312/OdMLMnmye (Quadruple Axel 2024 #羽生結弦 SPECIAL pg 20-29)

 

Quardruple Axel May 2024 Issue: Exclusive interview with Yuzuru Hanyu

 

March 11th. When I walked into the hotel room in Sendai City, Yuzuru Hanyu greeted me with a gentle expression. The ice performance "Yuzuru Hanyu Notte Stellata 2024" held in the disaster-stricken area from March 8th to 10th, which he himself served as the chairman, has just ended. He should have been exhausted, but he didn't look like that. He just glanced at the tote bag in the reporter's hand and said, "That's a (souvenir) from the National Middle School Skating Competition, right? I miss it~", That was all it took to thoughtfully lighten the mood at the scene. He was interviewed by us for about an hour including filming time.

 

Spoiler

——Thank you very much for taking time out of your busy schedule to be interviewed today!

Hanyu: Thank you! Are you nervous? In fact, there is no need to be nervous at all. I haven't changed at all (from past to present)!

 

——Thanks. Then, I'm counting on you.

Hanyu: Please take care of me.

 

——It has been two and a half years since Yuzuru Hanyu started working as a professional skater. You have deeply thought and pursued both performance and figure skating itself, and you have even tried to work as an overall performance choreographer. In the process, you seemed to have increased the level of difficulty. Specifically, it means mental, technical, and physical endurance. In previous ice shows, besides the opening and finale, skaters mostly performed one program in the first half and another in the second half, a total of two programs. Under such circumstances, Yuzuru Hanyu had to complete an ice show alone. I think it is quite difficult for one person to perform nearly 10 programs. First of all, I would like to ask you to tell me why you decided to do a "solo performance" when you turned professional.

Hanyu: At "Yuzuru Hanyu notte stellata 2024" I skated three programs. In fact, just skating these three programs made me exhausted (laughs). As for me, even now, I have always treated figure skating as a sport. When it comes to why I chose solo skating over this, the first reason is that when I changed from competitive skater to professional skater, the voices from those who "still want to see Yuzuru Hanyu's figure skating" gave me a strong impact. Well, if that was the case, I started thinking, "For those who want to watch me skate, can I create an environment where they can watch me skate all the time?" This was the initial idea. And hence "Prologue" was born.

 

At the time of "Prologue", the MC session was very long, and the number of programs was obviously less than now. It wasn't easy physically at the time, but compared to now, I was able to skate through the whole show with plenty of room to spare. Through "Prologue", I also captured the feeling of "being able to perform continuously by myself." Of course, I don’t think I’ve fully presented myself yet. In fact, it cannot be said that all the programs were performed perfectly. In the previous "RE_PRAY" ice show, I was not able to perform all the programs perfectly. I thought that it would be really difficult to complete the entire performance alone, and it would definitely be physically demanding, but while I practiced for the solo ice performance, I gradually grasped the idea that "I can definitely do it alone."

 

——From the first "Prologue" to "GIFT" and "RE_PRAY", I feel that you are challenging more difficult programs every time you perform. Not just the physical strength, the fact that you can't just cancel a solo ice show because you're not feeling well, under such heavy pressure, your performances continue to exceed the audience's expectations. Isn't the daily practice quite a burden?

Hanyu: Maybe this is something that should be taken for granted after becoming a professional skater, but to be honest, the training I have accumulated now is incomparable to what I was able to do when I was a competitive skater. Looking back on the competitive days, it was enough to practice up to three programs (short program, free skate and performance skate) in a season. Because the number of programs is limited, it can improve concentration during practice. However, since I became a professional skater, if I hold a solo ice show, I would have to skate more than 10 programs. For a program to be comparable to traditional free skating, even without footwork and rotation, practicing seven jumps is undoubtedly necessary. In addition, if you want to skate many programs, not just jumping, you must also perform corresponding exercises for different programs.

 

On this basis, is it enough to just complete a certain amount of practice? Not really. Although as long as the amount is accumulated enough, the endurance will indeed keep up. However, these alone cannot maintain and improve physical fitness. Figure skating requires instantaneous movements. In order to consistently perform at my best, in addition to increasing the amount of physical training, training to improve my conditioning and fitness is also essential. Therefore, the current training can be said to be extremely hard (laughs).

 

——During the "RE_PRAY" performance in Yokohama on February 19th, you mentioned "about 6 hours of physical training a day." The amount of training is quite huge, right?

Hanyu: Yes, at that time, I felt quite upset because I was not able to perform well in the Saga performances. Since then, I have been studying better training methods and have been fighting with myself for more than a month. (Editor's note: As a result of hard training, in the final performance on February 19th, which was open to the media, "The Messenger of Destruction", which was as difficult as a free skate, was completed for the first time without any mistakes.)

After that, I immediately had to prepare for "notte stellata". Since there were three performances to be performed, it is necessary to practice accordingly. Especially this time, there are two new songs. Although the new program was arranged by someone in December last year, it was not possible to practice well (because he had to adjust for "RE_PRAY"). So, the first thing to do is to recollect the choreographic movements. Of these two new programs, the choreography for the second half of "Carmina Burana" started after the Yokohama performance of "RE_PRAY", but then it was decided to have additional stop for “RE_PRAY", so I have to keep practice for that too.

 

In this sense, although it is very hard, I am always thinking about how to continue to evolve during the process. For example, I mentioned about "learning" before. I can refer to the training methods and skills honed by top players in other competitive sports, or I can refer to paid course videos and study relevant papers. Although most of the contents are in English media, I can still learn and absorb various knowledge from them, and at the same time think about whether I can apply it to my own training, and thus formulate a training plan that suits my own situation.

 

——Performing more than a dozen programs in two and a half hours by yourself is something you have never experienced in the competitive era. In competitions, you just need to focus on the short program or free skate each day to bring your form to its peak. Now, in solo ice performances, the method of giving full attention to all programs must be carried out throughout the show. During the two-and-a-half-hour performance, in order to achieve the best condition in each program and repeatedly exert concentration and explosive power, has your "internal clock" changed compared to the competitive days?

Hanyu: Ah, right? (laughs) This is an interesting question. I don't have the impression of "just doing a long-distance race (a two-and-a-half-hour solo performance)" in my mind. Yeah, maybe it’s like the different feelings that a marathon and Ekiden (long-distance relay race) give to people. A marathon is run by one runner. During the 42.195km, there are ups and downs, and there are also times when the wind is going against the direction. We need to explore a strategy that can reasonably distribute the rhythm. In contrast, in Ekiden, multiple runners complete their respective sections, and all members relay the baton till the finish line. Among them, there are runners who are good at running long distances, and there are also runners who excel at running short distances at a fast pace. In this process, everyone devotes their effort to the parts that they are responsible for, and everyone's efforts are brought together as a team to complete the run.

 

Although my performances are like a marathon, I run alone all the time, but in fact, each program is like an Ekiden interval. Therefore, there are longer programs like free skating and shorter programs. Moreover, I always work hard to be able to perform all the repertoire at my best. So even though I ran the entire distance like a marathon, in fact, each part has its own Yuzuru Hanyu who is responsible for it. Each Yuzuru Hanyu is trying his best to skate each program. Only when they come together that a complete "solo performance" can be achieved. I imagine it would be similar to the feeling of running Ekiden alone.

Because of this, each show’s approach to skating, the techniques used, and the pace are completely different. I had to practice them all one by one. In a formal performance, as long as the music starts playing, no matter how deprived of oxygen the body is and how hard it is, it must be completed. This is because it is not just about me, but the staff around me are also working hard to create with great care and dedication. So I have to persist in completing it. Although there were times when I couldn’t help shouting “I’m so exhausted” or “I really want to go back” (laughs).

 

To get back to the subject, I did not deliberately distribute (or preserve) the rhythm (physically), but trained in order to continue to exert my full strength for different programs.

 

—— Hanyu-san seems to be able to squeeze out his endurance from the limit, even when you feel physical pain and when you keep pushing yourself. Do you have the power to push the limits?

Hanyu: The support from the audience makes me very happy. I think there must be an invisible force, just like what everyone calls super energy in critical situations. However, I know firsthand that even this power has its limits. In my opinion, when the limiter is turned off, it is possible to awaken the extra 20% potential. However, since my competitive days, I have always been skating in a way that utilizes the extra 20% from the beginning. In this way, the remaining power has already been exhausted, if the energy is exhausted midway, the body will feel like it is stagnant. So it is important to recover when you're taking off your skates and changing clothes between programs, but it is actually very difficult to do that. The process of untying and re-tying skate laces also requires a lot of grip. In fact, the way you tie your skates can affect your condition and even bring the risk of injury, so concentration cannot be interrupted in this stage. Under such circumstances, my brain is still running at full speed, thinking about "Now, how can this body recover as soon as possible?" and "How to adjust the body's state and rhythm before performing the next program?". I was trying my best to overcome these difficulties. If there is nothing you can do physically, you can only rely on mental power to make your body move.

 

In this way, rehearsals become crucial. For "RE_PRAY", there is a free skate program ("Messenger of Destruction") at the end of the first half, but during rehearsals, I will skate "Messenger of Destruction" twice in a row after skating all other programs in the first half. Or sometimes I skate "Messenger of Destruction" three times in a row and then do the whole rehearsal. There are also cases where the original 30-minute break between the first and second half is reduced to 15 minutes and then the skating resumes immediately. Sometimes, after skating the Rondo step sequences three times, I will perform some additional performances. A formal show is definitely more physically demanding than a rehearsal, so I have to persevere until the end no matter what. In terms of research, I review scientific studies on the energy efficiency of muscles, the oxygen absorption of cells, and the oxygen transport of red blood cells, and train on this basis.

 

——Sounds like an impressive training session. In addition, in terms of performance content, after changing careers, you performed many jumping elements and programs that went beyond the rules of the game and broke the rules framework. Looking back at the competitive era, have you ever struggled with performances bound by rules?

Hanyu: I myself use the word "rules" in "RE_PRAY", but if you think about my experience in competitive sports, there is no doubt that I was bound by something like scoring. For example, in a certain melody, "Rather than jumping, I would like to do something that fits better for the performance", or "Although I actually want to perform like this, but in order to score, I can only do jumping here", psychological dilemma similar to this have indeed existed before. In this way, "If I want to complete this jump, I must ensure such a long skating assist", which means that I must have a corresponding distance. Or, to be honest, in order to get points, while thinking about matching the notes of the song, I have to think about "This step must be performed" or "This rotation must be included in the combination" situation. When considering the program, you’re always bound by the score.

 

Of course, arranging programs with the goal of obtaining scores is actually the fun of the competition. However, after I won the 2018 PyeongChang Olympics, I began to feel that it was a bit lonely to think about making programs just for scoring. GOE has been adjusted, and I gradually feel that there is a ceiling-like existence in PCS. During that time, I had to think, "Well, what should I do to get points?" However, no matter how much effort I put into performance, and no matter how deeply I thought about the music, I was still unable to improve the PCS. It could be said that it had reached a point where nothing could be done. In this way, I could only improve the basic score of jumping, because I have to work hard to master new techniques (having to reduce the practice time in other aspects) and it is impossible to pay attention to and study in depth in all aspects. The most difficult part of figure skating is how to coordinate jumping and performance. On top of this, because of the constraints of scores, to be honest, I have repeatedly hit the wall for this.

 

——About "RE_PRAY" just now. After turning into a professional skater, the constraints of scoring disappeared. But on the other hand, the disappearance of scoring can also be said to have remove evaluation-related restrictions in a sense. The price of obtaining "free expression" is the loss of " judgment standards". Do you also have to face such a difficulty?

Hanyu: Thank you very much for your thoughtful interpretation of "RE_PRAY". To be honest, I was so happy that I couldn’t help but chuckle. After all, without scores, the so-called results, we cannot determine the right answer and the wrong answer. I am deeply aware of this difficulty. However, as a performer, it seems to me that the process of trying to find the right answer is actually similar to philosophy.

 

"RE_PRAY" slightly uses the Trolley Dilemma as a theme, but the answer to this question cannot be deduced by anyone. It can only be considered by each person as a pragmatism (practical, pragmatic concept) and find the answer that is suitable for them, the so-called correct answer. So I think this is similar to philosophy. In my mind, "I want to express it this way", "I want to add sounds for this kind of expression, and I want to convey this kind of world" are the correct answers. But for other people, they may feel that "It's not like that." When this remains in the world one day in the future, some people may think, "So this is how Hanyu Yuzuru (his performance, the world) feels." There may also be people who are deeply shocked. When I think about this, although it is difficult (performing without evaluation standards), maybe it is just out of the feelings of the athlete, but I still feel that pursuing it is meaningful. This is because I sincerely feel that if we always keep thinking and learning and deepening, we will definitely have the joy of continuous evolution. In fact, we can’t just talk about “fun” and “enjoyment”, after all, this is a job full of hardship. However, I feel that there must be correct answers and ways of thinking that I cannot discover on my own.

 

——How did the game-based concept for "RE_PRAY" come about?

Hanyu: Speaking of "RE_PRAY", when I was thinking about my future plans for skating, I thought that I had finally laid the foundation of "GIFT", the ICE STORY, at the Tokyo Dome, so I wilfully told the staff (lead by MIKIKO, the chief editor) "I want to continue ICE STORY", and that's where the creation started. I have been worrying about how to make ICE STORY 2nd, and I kept thinking "What is the most interesting part if it is presented as figure skating?" In terms of expression techniques, I thought, would it be more fresh and more interesting if I could start with things that I have the most contact with and that no one else has personally experienced? After thinking about it this way, I thought that I could use games and the like as the basis for the ice performance.

 

——The effects projected on the screen, the YES or NO option and the date of archive selection would change in each show, which has also become a topic of conversation among fans and everyone has made various comments and interpretations about them. Is there any special purpose behind it?

Hanyu: For these aspects, we just want to maximize the point of "creating stories as professionals". For figure skating, every moment of performance can become a work in itself. In addition, the reaction of the audience and the atmosphere at the event also create a sense of "live" at a certain moment. Therefore, as professionals, we are producing this ice show with the aim of striving for excellence to the end.

 

——In the video of "RE_PRAY", there is a scene where Yuzuru Hanyu uses a game controller to control the characters on the screen. That game character is also Yuzuru Hanyu. This design in which you control the game character Yuzuru Hanyu and move forward by choosing between YES and NO can also be said to be a unique worldview of yourself from an objective perspective. Hanyu also made many choices during his competitive days, such as deciding to go to Toronto, deciding to challenge 4A, and deciding to become a professional skater. When you are making these decisions, do you feel as if you are controlling the game character Yuzuru Hanyu?

Hanyu: That’s great, if you explain it this way. Thank you. Indeed, I also feel that I am the kind of person who is better at looking at things objectively. Whether in the process of skating or in the process of being interviewed like this, I seem to always be able to view myself objectively and observe myself from an overhead perspective, or I can say that I have good self-control. This personality may have penetrated unconsciously (during the creation of "RE_PRAY"). In fact, I also think that my own life experience has been injected into "RE_PRAY".

 

When I talk to you like this, I will also say "very interesting" and "not bad". When I organize the language, I do use unique wording in many places. Even so, I still feel that the expansion of the range of thinking and the richness of the set of options are very important. The story of "RE_PRAY" can be interpreted in various ways. In a sense, for the fans who have fought along with me, this is "Yuzuru Hanyu's story", but for viewers who are watching it for the first time, they may just watch it as an ICE STORY, right? For media people who conduct interviews and reports, they may think, "Because Yuzuru Hanyu used such language, that's probably what he thought?" Various programs also exist on the basis of many different interpretations. Integrating these into a complete work is what ICE STORY wants to pursue. Therefore, there is nothing happier for me than being able to take questions from people like you who understand this ice show.

 

——Having talked about this, I can also understand that for you, whether you are training and practicing as an athlete, or participating in the overall performance choreography, you need to consider themes and concepts, including polishing the details, all of which have a great impact on the body, brain, and spirit. All levels will bring a huge burden. Despite this, I can't help but look forward to Hanyu Yuzuru moving towards higher goals. When you held a press conference on turning professional in July 2022, you once said frankly, "The existence of Yuzuru Hanyu has always been a heavy burden for me." This sentence impressed me deeply. Has the burden that this existence placed on you changed since you became a professional skater?

Hanyu: (Laughs) It’s still very heavy. As expected, the fact that it feels like a heavy burden has not changed since the competitive days. For me, the fear of "Whether I can meet everyone's expectations?" and the uneasiness of "Whether what I am doing is actually responding to everyone's expectations?”, I have never stopped thinking like this to this day. But in my opinion, when such thoughts disappear and I no longer regard these as a burden, it probably means that I have reached my limit. I can still see the ideal image that can live up to everyone's expectations, and I want to make it my goal. In other words, in my opinion, my potential (moving his hand upwards) can probably reach this level. Because of this, I feel uneasy or have the feeling "This is the best I can do”. I may live up to everyone’s expectations only to this extent. It is very difficult to continue to evolve and finally realize your ideal, but I accept the state of mind of constant pursuit of this as the driving force.

 

——How do you spend every day keeping in mind the distance between you and your ideal?

Hanyu: To be honest, I do feel that I have always insisted on pursuing my ideal goal. But specifically speaking, the distance (to the ideal) is not a definite interval. Sometimes it is closer and sometimes it becomes further. It seems to me that this kind of thing happens all the time. At this point, this is true regardless in professional or competitive era.

 

For example, the "SEIMEI" I skated at the 2015 NHK Cup (which set a world record at the time) was almost close to the ideal, and I scored 322 points (total with the short program score). Regarding this, I thought, "It's close to the ideal, what should I do next?” In a sense, I have reached a state where I can be satisfied. At that time, facing the upcoming GPF, I kept thinking, "Can I score more than 320 points in the next competition?" and "What should I pursue next?" However, at the same time, my physical condition became not good, and I have a bit of a cold and at this time my ideal is far away from me again. But in the end, I scored 330 points in the GPF (Editor's note: Both the short and free broke the world record at the time, and scored an otherworldly 330.43 points, achieving three consecutive GPF championship titles). It can be said that I have fully realized my ideal, but that time I was completely burned out, and it was difficult for my body (state) to recover and my feet started to hurt. In this way, I have to put the ideal back in its place…

It is precisely because of that during the seasons around 2019 and 2020, although I had the ideal I had been chasing, there were times when I felt that another ideal was good and changed direction. I think the situation of being closer and further away from my ideal, or simply starting to pursue other ideals, has not changed even now.

 

——In the press interview after the "RE_PRAY" Yokohama, you said that you were “completely blank” when talking about future ideas. In fact, what are your next plans?

Hanyu: At the moment I really don't have any idea about the future. In fact, it is through this that I realize once again that I am in a creative field. Precisely because I have nothing, I have to create it, and it is precisely because I have to create, even though I will surely encounter difficulties, I still find pleasure and enjoy it. When it comes to what I am pursuing now, roughly speaking, I think it is "good work”. Although I can't be specific yet, what is the "good work" that I am pursuing? I think it should be something that I create from ‘nothing’, which is probably what everyone expects. However, I do benefit from the support of people around me, as in the case of "RE_PRAY", there are a lot of people who are really working on it. In this sense, I have had a lot of difficulties in the process of creation, whether it is the extensive training I have conducted in order to present a better performance, or the many difficulties I experienced during the actual performance, but I feel that the ice show created by the "Professional Group" is indeed the highest-level work. At the same time, I always adhere to the sense of responsibility that "I must perform at my peak" while creating ICE STORY.

 

——Thank you very much for taking up your precious time for an interview today!

Hanyu: You are so kind. I should be the one to say thank you!

 

 

[Postscript to the interview]

 

Wearing a black sportswear, Hanyu welcomed me into the hotel room. Within the allocated one hour, Hanyu spent 40 minutes carefully answering my questions one by one. Occasionally, there were times where he responded to my questions and said, "That's good," or "I'm happy you asked." The power of Hanyu’s words, the passionate tone of his voice when talking, and the words he weaves which are completely different from Hanyu on ice, are also full of charm.

At the end of the interview, we asked him to write down his future resolutions on colour paper. "Um…what should I write?" Yuzuru Hanyu looked at the paper with a serious expression and fell into silence for a long time. After a while, "I can say what I want to say, but what about writing it in words?" He said this while writing the words "Change the world!" When I asked him about the meaning of "world" here, he replied, "I want to change not only the field that I am currently fighting in, but also the world itself in everyone's eyes”, reveals such a grand theme to us.

 

During the filming process, he kept changing his poses at the photographer's request. While chatting with us from time to time, he has a smile on his face, but as long as he faces the camera, he can put on the required expression in a split second. This made us realize the strengths of Hanyu-san as an expressive person, who has been in the spotlight of the camera tens of thousands of times.

 

While waiting for the camera to be set, I asked him: "In your competitive days, you once said, "What I like most is when there is a barrier in front of me." Now that you are a professional skater, do you still like to encounter barriers?" Hanyu listened, compared himself to an "ant" and gave this answer.

 

“In the competitive era, there were scores and results, so when I looked back, I would find that the walls were right there in front of me. Now it seems more like I have to find the walls on my own. It’s because I think, "I want to be more like this. "Or "I want to become stronger”, so I have to build a wall for myself, and then overcome this wall. For example, there is a huge staircase here, and I am a tiny ant. After all, stairs are just stairs, not walls. However, if I think “I want to move to another level”, like an ant, I have to perceive the stairs as a wall and climb over it myself. I look for obstacles and climb over them in order to evolve, but what I want to say has not changed (I like it when there is a wall to overcome).

 

The interview was conducted on March 11th. It ended just after 14:30. When we put away the filming equipment and moved the tables and chairs back to their original positions, the same 14:46 as on "that day" arrived. Hanyu looked at the sea through the window and silently prayed. Although he himself was a victim of the disaster, he did his best in the ice show held to deliver the "light of hope" to the disaster-stricken areas. The back view of Yuzuru Hanyu at this time is that of an ordinary 29-year-old young man without the armour of the "Absolute Champion". For a while, Yuzuru Hanyu remained facing the window. After, you can see him raising his hand to wipe the corners of his eyes from time to time.

 

[Wintek]

*Machine translation from Japanese to English. Inaccuracies exist*

 

Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 46-51
Info: https://www.yamakei.co.jp/products/2823907850.html

Quardruple Axel May 2024 Issue: [Talk about Yuzuru Hanyu] Shae-Lynn Bourne

Ascension to artist

Interview and text by Yukiko Ogawa and Tatsuya Murao (this magazine)

 

Following last year, Shae-Lynn Bourne appeared in "Yuzuru Hanyu notte stellata 2024" again this year. This time, she choreographed the first part of the collaboration number "Carmina Burana" between Mr. Hanyu and Mao Daichi. She talked a lot about the behind-the-scenes stories behind the new choreography that has become a hot topic, as well as Mr. Hanyu's activities as he challenges new frontiers as a professional skater.

 

—First of all, please tell us your current feelings about “Notte Stellata,” which you just finished the other day.

 

S-L: This was my second time participating in this show after last year. So I was happy to be invited back. And simply, I was happy to see him again. Yuzu kept the same format of the show as last year, and the skaters were the same as last time, with the addition of Javier Fernandez. It was great to see them again. I also enjoyed the time I spent with everyone. Since there were not many performers, the locker room for the women skaters was very intimate, and there was always great conversation and a positive vibe.

Spoiler

Everyone was so positive and mature, and it was great to spend time with them. I was also very happy that my husband and son were there this time. My husband and I performed together last year and he joined in the performance while I skated, but this time he was a spectator so he was able to enjoy himself as much as he wanted  (Laughs). In addition, our friends came to see us, so in addition to being able to come back to Sendai, interacting with them was also a fun memory. I am getting to know Sendai better each time I visit. It is a very nice city and I discover something new every time I visit. And then there was the fact that the opening and finale, as well as the cast, employed the same numbers as the previous production. I myself have very little experience with such things, so that was very refreshing. I think the audience enjoyed it as well. The warm atmosphere of the full house made it a wonderful experience. It was a very fun show for those who participated. And of course, Yuzu always puts 100%, 3 times or even more than 100% energy into what he does. It's very professional. For this show, I am also participating in the choreography, which was done via ZOOM in December, so I was thrilled to be able to actually see his performance this time. It was like, ``He's actually here, not through a screen'' (laughs). It was also moving to be able to see what we had created together in the show.

 

—You choreographed the solo part of “Carmina Burana,” a collaborative number with Mao Daichi.

 

S-L: That's right. We created it by meeting several times on Zoom. It's a sweet little part in the first half of the show number. The story depicts him as a naive and curious boy who discovers a beautiful garden.

 

—How did you go about the choreography?

 

S-L: First, I sent him a video of my own performance, and when he was at the rink, I connected with him online and watched him perform it on the screen. I was doing choreography like this during the coronavirus pandemic, so I'm used to working from a distance (laughs). Besides, he and I have been working together for many years now, so we know each other very well and it doesn't matter if we are in the same place together or not. There is no barrier between us, and we work well together.

 

—“Carmina Burana” was one of the highlights of the show.

 

S-L: Personally, I was concentrating on the introduction part. In the second half, there was a collaboration with actress Mao Daichi, so I think Yuzu had a very clear vision in his mind through the program. He shared with me his feelings about the part I was in charge of, what kind of world he was portraying and how he wanted to feel and skate.

 

—What was the content like? 

 

S-L: There is an innocent boy with shining eyes. He is curious and fascinated by the world around him, the flowers and beautiful things that surround him. “Innocent" fits perfectly, don’t you think? The song used here is a part of “Carmina Burana” that you don't often hear. When many people hear the words "Carmina Burana," they think of the majestic melody that follows. I was also more familiar with them. So, it was even more fun to work on this different part. It's a really varied song, going from bright to dark and then back to bright again.

 

—Along with the request for choreography, Mr. Hanyu also talked about the story.

 

S-L: Yes, he did. It's about the feeling of what he is experiencing, the character, the overall feeling. It's a visual image, like painting. That's usually how we work when we do things together.

 

—How do you think about the movements of your choreography?

 

S-L: When I create a program with him, I always try to imagine myself skating as Yuzu, which is also a fun process. I create it while imagining how I would feel if I were him. In reality, I'm not skating on the same rink as him, but I feel his presence, his behavior, his body movements, and the lines he draws. Once I have fully felt that feeling, I use my body to draw that feeling on the ice. At that time, I tried to come up with some different movement ideas. When you actually try acting with his body, you can compare how it looks and which one is best. No matter how naturally an idea comes to you, there may be other patterns that suit him better. So, I always have two or three options with different movements. Generally speaking, this completes the natural movement.

 

—How was it to see him skating on the rink for the first time?

S-L: This time we had a few days of rehearsals before the show, so I was able to see him practicing. I saw him on the rink for the first time at that time, and he is very professional, so between the choreography in December and the show, he practiced by himself and made it completely his own. So at the rehearsal, I only made a few changes to the choreography that I thought would make it look better. Ms. Daichi also came to the rehearsal, and I saw their collaborative performance for the first time. I was told that Ms. Daichi has been at the forefront of stage performances for many years. —I think it was a very interesting idea to fuse the worlds of these two people this time.

 

—Have you seen the new program “Danny Boy”?

 

S-L: We only got to see one part of the show. As is always the case with shows, this number was right before the finale, so when everyone was standing by, I opened the curtain and caught a glimpse. That's the frustrating thing about shows. Not being able to see the entire performance. I had to change my clothes in a hurry. I can't see the whole thing until the video version is completed (laugh). But everything he does has the power to move hearts. What is especially noteworthy is that he approaches everything he does seriously and wholeheartedly. When he believes in something and dedicates himself to something, it touches the hearts of those who see it.

 

—And Shae-Leen, you performed "WAKA WAKA".

 

S-L: Yes - it is a very old number, but it was fun to dig it up and perform it. I think it was good to have an energetic number to balance the whole performance. After a series of slow numbers, it is good to have something up-tempo.This is a song that makes you feel happy, and makes you want to dance, so it was really fun to perform. Also, the audience got into the song and clapped their hands from the moment it started. They kept clapping from the beginning to the end. I was happy to see everyone in the audience getting excited along with me.

 

—Shae-Lynn was also in high spirits, high-fiving people in the audience!

 

S-L: That's right (laughs). Whenever I perform an entertaining number, I like to explore how to draw the audience in. This time there were three performances, and I was always curious about who I would go to, and how they would react. I look forward to that kind of interaction with the audience every time. It's really nice to see people relaxing, clapping along to the music, and enjoying themselves. 

 

—It is wonderful to see the same cast members creating a reunion-like atmosphere for the show.

 

S-L: It really is. Besides, this is a special once-a-year event. Even if it is repeated every year, it will never be exactly the same. Each time is special. Not only for the skaters, but also for the audience. The crew, the cast, and the audience are all involved in creating a special atmosphere and a special experience. As was the case last time, I feel sad when the show is over. 3 performances are over in a blink of an eye, so the week including rehearsals passed like an arrow. This show would not be possible without anyone from the audience, cast, or production side. That's why I feel that every moment leading up to the creation of this show is important. Everyone gathers for this one special show, and once it's over, each person returns to their own path. So I feel a bittersweet feeling. I'm very happy to be participating, but when it's over, I feel lonely… and grateful. It's become a special part of my life. I think it's probably the same for everyone involved. So I'm filled with gratitude to everyone who made this show possible.

 

—The finale, ``Song of Hope,'' was also very moving.

 

S-L: I would be very happy if you could feel something. It was a song that we performed last year, so I think it was a good idea to repeat the number that both the people watching and us who performed it knew. When performing a show, there are times when I have to remember things in a hurry, so there are times when I have to use my head and think while doing it. But in that finale, everyone was able to enter that world. I didn't have to think about it, so I was able to immerse myself in my emotions. Also, a number like that song that stirs emotions can be performed at any time.

 

—Did you have any memorable moments with Mr. Hanyu during this show?

 

S-L: When I perform in a show like this, my schedule is packed with rehearsals and soloist practice, so I don't often get a chance to talk with him in detail, but this time I was able to sit down with him at the main venue. I had time to relax. I was waiting in the skater lounge during the rehearsal for “Carmina Burana.” At that time, we were the only ones there and it was quiet. I was able to connect with him, and talk a little bit about life and things like that. It wasn't a long time, but it was enough time for us to feel connected over something other than skating.

 

—This show is a tribute to the Great East Japan Earthquake. What is the significance of this show from your point of view?

 

S-L: He is a very open minded and compassionate person. He gave a speech after each opening. I didn't understand exactly what he was saying, because it was in Japanese, but I could feel the sincerity and emotion that he was expressing from his heart. Everyone was looking at him and listening intently, and his speech was like a spiritual event. His reason for putting on this show, his wonderful desire to “bring happiness and hope into people's lives,” meant so much to them. I couldn't help but feel how special it was to be a part of this special event with him. Last year's show in particular was held on March 11th, so we held a moment of silence on the rink before the show. This year, it was not held on the same day, so there was no silent prayer, but it was still very important, and I think he carried that enormous weight on his shoulders to evoke the feeling of that time. This time, I feel like the focus was more on "joy." It is a feeling of joy that gives the audience hope, and hopes for good things in the future. At the same time, I think it was a way to relive that event, and never forget it. It's amazing, isn't it? Looks like Yuzu. He is a special person. I think his very existence is a gift to many people.

 

—Mr. Hanyu actually experienced an earthquake while [he was] on the ice. The impact this experience had on his career is hard to imagine.

 

S-L: I agree. He is truly a person who gives out what is inside of him and cares deeply about others. I think he really values his fans and his passion for skating. I think he links all those things together in creating the show, and he puts a lot of thought and meaning into what he does. I feel that way when I watch him.

 

—Also, in Shae-Lynn's acting, each movement is filled with emotion and thought, and you can really feel the excitement. Apparently, Mr. Hanyu was attracted to Ms. Shae-Lynn's passion, and thought, “I would like to ask her to choreograph my program.”

 

S-L: Thank you for your kind words. I'm just so happy to have this opportunity. I once told my husband, “I'm definitely happier when I'm skating,” and when I hadn't skated for a while, he looked at me and said, “Maybe you should go skating?”  (laughs). I think everyone has something called “this” in their life. When you're doing it, you lose track of time, and become completely immersed. For me, that's what skating is. It doesn't have to be a show, just go to the rink, put on some music and simply skate. As I skate, the music slips into me, and I express it. That's what brings me joy and what I'm passionate about.

 

—I think the people watching can sense this from the expression on Shay-Lynn's face while skating.

 

S-L: I would be happy if that were the case. Above all, I'm the one who's having the most fun with it (laugh). Being there and seeing the reaction of the audience. Being able to do something like this, feels like a truly wonderful gift.

 

—I think you share the same sensibilities as Mr. Hanyu. The two of you are a good match because you have similar feelings.

 

S-L: I agree. It's like energy. I had no trouble connecting with him, and I think that's probably why we work so well together. That means we have the same energy. Regardless of the geographical distance, I understand him in my own inner world, and I think he probably does too. I think it's because we feel connected that we can work together so easily. I think we both respect that. It's very exciting to work with people who give so much of themselves and love what they do and are passionate about it. It must be a gift from heaven to be able to work with someone like Yuzu.

 

—As is the case with this show, his performance seems to have improved even more than during his active days.

 

S-L: I think it's because of his mindset. When most athletes retire from the competitive world, they usually feel a little more relaxed, if not relaxed at all, don't they? I think it depends on the person how much of a challenge they are willing to put themselves through. But as for Yuzu, I am not surprised (by his current situation). He is a very hard worker, and always wants to be challenged. He will not accept himself not being challenged. He will not accept himself not to try, because he has the desire to “get better!” That's why he is able to give such a great performance, regardless of whether it's a competition or not. And now that he is out of the competition, he is able to focus more on the artistic side of skating. He can perform what he wants to express, to the fullest, without having to count how many jumps he jumps, or how many elements he puts in this or that ・・・・・・. And the fact that it's not a competitive arena gives him more freedom, which he feels he enjoys even more. It's not that it's “easier,” but that it's “different.” He has always excelled artistically, but now that he doesn't have to worry about the elements, he seems to be able to refine them even more freely. But he still pushes himself, and in some of his numbers, he does quadruple jumps and triple axels (laughs). But I feel like he is doing it from a different angle, a different point of view, a different approach. And the level is not going down, but rather up. As a professional.

 

—It's exactly as he said when he announced that he would turn professional, that he would "evolve further." I feel like his turning professional has even changed the perception of figure skaters.

 

S-L: I think he wanted to set himself a challenge. He is on a new quest. In addition to continuing to skate and participate in existing shows, he also produces new shows. It feels like he is just moving on to the next step. He has worked very hard to obtain such an opportunity. And now, by creating shows and exploring his artistic side, different styles and different things, he is using the foundation he has built up to do something worthwhile. He takes on new challenges. “I think I've found a range,” he says. Trying things out, exploring, “Can I create something that didn't exist before?” I think he is playing with his artistic side. It's wonderful. I think it's very good that he has found that path.

 

—Mr. Hanyu announced that he would turn professional in July 2022, after the Beijing Olympics. How did you feel when you heard the announcement?

 

S-L: I found out about it at the same time as everyone else. However, there were no surprises. Because after winning the first Olympics, it was no surprise that he made that decision. Many skaters would be satisfied with that, and think “I've done it.” But he stayed on, and won yet another gold medal. After that, he continued to compete. As long as he had a clear vision and challenge he wanted to take on, I think that was the driving force that drove him forward. I feel like (turning pro) means he was ready to take on a new challenge. It's fun to watch him find his path, and I'm happy to be a part of his life as a professional skater. What on earth will he do next?? I can't imagine it either, but I'm looking forward to it. Plus, it's a joy to see him so sincerely dedicated to things and working so hard.

 

—Do you feel there are any differences in communication between you two when he was a competitor and now?

 

S-L: No, there aren’t . He has always been passionate and dedicated. When I was choreographing when he was still competing, he would skate late at night, and sleep during the day. It was a sign of his competitive attitude that he adapted his life time for skating. Now, I think he has found a new motivation by knowing what he can do through his shows. And he is putting that energy into his new skating. His passion and dedication are the same, but the direction in which he directs them is different. I think that's all.

 

—Mr. Hanyu has held three solo performances so far. Have you actually seen it?

 

S-L: I haven't seen the whole show except for parts of it online, but when he told me how many times he had skated the program at those shows, I was astonished and said, "How is that possible?" I was astonished (laugh). But, as you all know, that's what Yuzu is all about. He is a person who gives every ounce of what he has. There is no such thing as half-heartedness. It's either all or nothing.

 

—How difficult is it for a skater to skate a show alone?

 

S-L: I have never seen anyone else do it, so I can't even compare it (laughs). That in itself is an amazing feat, but the process of taking care of your health, and keeping yourself in the best condition to complete it is also a tremendous undertaking. It's a huge undertaking that takes a toll on him physically, mentally, and emotionally. But he is doing it. It's wonderful. I would like to see the show he created in person.

 

—Do you feel nostalgic for the days when you choreographed programs during your competitive days?

 

S-L: Whenever a skater leaves a competition, it is always both a happy and a painful experience. But I think the happy part is stronger. The sad part is that it won't last forever. Now I am thankful for all the memories and the months that we have spent together. I am also excited to think of his new life. When I look back on his retirement, it was necessary. And he needed new experiences too. We all need to grow, to experience new things, to step into a new chapter of our lives. 

 

Because that is part of growing up. This. With the skaters I've worked with, I'm always very excited to see where their lives take them next. If they have a good experience, whatever they have done in skating, it will certainly help them in their future, in their next choices. Whether it's skating or something else. Some may become parents, some may become coaches, some may go down a completely different path. For many years, I was also involved in competitions, and a lot of the reason I was involved in competitions was because it gave me a chance to perform, and that's why I wanted to perform. And the reason I want to perform is because I just love to skate and be in the moment. There is a famous saying, “Dance as if no one is watching, sing as if no one is listening” (meaning to let your passion take over and go all out, without worrying about what others think), and for me, that is skating. I don't think about what other people are thinking, I just am what I am. And I enjoy it very much. And I feel really lucky that I am still healthy and able to keep skating. That's what I try to convey to skaters when I work with them. The beauty of skating and the feeling of freedom to do what you want. I wouldn't go so far as to say that all my tension goes away when I'm skating, but I find that I channel my energy into something very positive and beautiful. And that relieves tension. Because you are living in the moment. I understand that it is difficult when you are competing, because there is a lot of stress, like scoring points, or making jumps, and so on. But when skaters can lose themselves, be in the moment, and enjoy the music, only good things can come from that. It is something that connects you to other people and to the audience, something that we can all relate to and feel united with. That is my joy, and it is also the joy I feel now as I work with skaters, hoping that I can help them discover the same thing.

 

What he left behind is eternal, and will never change. What he has experienced in skating will always stay with him, and become part of his next experience. It was great, and I'm grateful to have been able to share my time with Yuzu at the rink. It was so special that I think about it every time I see him. I'm so proud to see him continue to pursue his life as an artist on the ice. Not all skaters are artists. Some are great athletes and some skaters are both. He always had the soul of an artist. And now, he is able to move in the direction of further mastering that part of himself. That's wonderful. I hope he continues to explore other aspects of his life and lead a wonderful life.

 

—What do you expect from Mr. Hanyu, who continues to pursue the path he believes in?

 

S-L: What I told him was, “I want you to make time for yourself and go on a journey.” He said, “I want to learn different styles of dance, and bring that onto the ice, and be inspired by art and music.” I said, “Okay, that's great, but traveling and seeing different places is also a great source of inspiration.” Of course, I understand his situation. It's not an easy task for him, who has many fans all over the world. Besides, he's always busy. However, I hope that he will make time for himself. I am sure that when the time comes, he will do so himself.

 

—Thank you for your wonderful story. Lastly, please send a message to Mr. Hanyu and your fans.

S-L: Konnichiwa, this is Shae-Lean. Yuzu, I want to tell you that you are loved. I love you too, and am always happy to see you. I wish you success, joy in life and a good journey. I hope you continue to see the world, and do what you love most. I feel so blessed to be able to meet you, work with you, and simply see you shine every time. You are such a beautiful person and so loved. And to all of Yuzu's fans, thank you for all your support. It was a special experience to meet you all at the show in Sendai. It was so wonderful. It was a wonderful experience. Thank you so much for supporting Yuzu and all of us skaters. Thank you for your support, your continued support, and your love over the past years. Without you, the show would not exist. Your participation is invaluable to me and to all of us. Thank you from the bottom of my heart.

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 52-55
Info: https://x.com/AxelQuadruple/status/1790022696480235669

 

Quardruple Axel May 2024 Issue: Takahito Mura – The Evolving Athlete 

 

Takahito Mura often co-stars with Mr. Hanyu, including in ``Notte Stellata'' and ``Fantasy on Ice.''  From their amateur days to the present, they have deepened their relationship from time to time as two comrades. ※ We asked Mura to talk about Hanyu's evolution as a professional athlete.

 

(Text by Tatsuya Murao)

 

Spoiler

--You performed in Notte Stellata last year, and you have just finished the second day today.

Just like last year, I had a very fulfilling time. The theme of the show is "Reconstruction after the Great East Japan Earthquake", so when we skated, we were conscious of the concept of the show when selecting the opening, finale, and even solo numbers. I may have mentioned this last year, but I really feel that the skaters are very cohesive in this ice show.

--Continuing from last year, the opening was choreographed by David Wilson, and the skaters looked like twinkling stars in the night sky.

Yes, the opening and finale both have that kind of image. This time, we have a new member, Javier (Fernandez), so he has lengthened the song a little and changed some parts, but the overall flow and base is the same as last year. It seems that David has brushed up on that.

--What kind of guidance did you receive from David?

For each movement, there is an explanation: 'This is what it means, so this is how you move'. This is especially true for the finale, since the lyrics are in Japanese, I think the audience can listen to the content of the song directly. With that in mind, David asked Satton (Miyahara Satoko), who can speak English, "What do these lyrics mean?", and said, "In that case, the direction of the hands should be this way", or something like that. The finale ('Song of Hope') is a song that brings everyone together and I really like it. It was the same last year, and I could still hear that song playing in my head for a while after the show. It's very moving, and I like how it ends on a high note. I was glad to hear that the song would not change for this year's show. The opening song, combined with the lighting effects, starts from a very fantastical place, with an image of the ``night sky and stars,'' and builds into a magnificent feeling. That song is also the theme of "Notte Stellata", and it fits the image that Yuzu has in mind. Because the theme is so clear, it's easy for us to imagine it, and it's easy for us to skate to it.

--Regarding this ice show, does Mr. Hanyu, the chairperson, have any thoughts on the initiative or any advice given to the performers and staff about how they should skate?

At the opening, there was a quote that said, ``The skaters have put their thoughts into this show,'' and I think that's exactly that, and the feelings of each skater were reflected in the songs. The theme of the show was shared in detail last year, so I wasn't told anything in particular this time. But we could see what Yuzu himself was working on, because we were also rehearsing together. It would be a bit strange to say that we understood his thoughts and that we met his expectations, but I think it's because we're all firming up together, because we're all heading in the same direction, that we're all coming together as one. We are no longer amateur athletes, we are working on the show as professionals, so it goes without saying that we understand this aspect as well.

--Did you get a glimpse of Mr. Hanyu's strong commitment during rehearsals?

I feel like he puts a lot of emphasis on the direction and presentation. This is true for the opening and finale, the collaboration between Yuzu and Daichi Mao, and Yuzu's own program, but he really worked out the details in rehearsals, like the timing of the lighting and sound, and how bright it should be to start from. When he was interacting with the staff, I got the sense that he was very particular about the timing, saying things like, ``It's too late at the moment, so can you please try again?''

--Since turning professional, Mr. Hanyu has been appearing in a number of solo shows, and it seems like that experience has been put to good use in this show.

That’s right. In the case of "Saturday Night Fever", a collaboration between Keiji and myself, Yuzu himself told MC Gamada (Ken), "You can hype it up a bit more. I think it would be good if we could get the audience more excited before the show starts".

--I saw it yesterday on the first day of the show, and the whole venue was extremely excited.

The audience was really excited. Keiji and I said, "‘Saturday Night Fever’ is the most nerve-wracking" (laughs). Of course I'm nervous about my solo, but I'm more nervous about this one.

--I was thinking that it might be a bit more relaxing for two people to do it together, but on the contrary, it's nerve-wracking.

Quite the opposite really, I get really nervous (laughs). In a sense, a lively, danceable number like 'Saturday Night Fever' shouldn't be uncool, right? Keiji and I were saying to each other, “Are we going to be OK, are we going to be OK?”. I was also worried about the jumps, so there was a sense of tension in that aspect. But I'm very happy that the audience enjoyed it and I could skate while feeling that they were having fun. Today was the second day, so I was grateful that there were many people who knew where the excitement was. There’s one more day left, so I'm going to go all out there.

--As for the collaboration number, there was also ``Carmina Burana'' by Mr. Hanyu and Mao Daichi, which became a big topic this time. What did you think of it?

When I first saw him skating, I asked him, "Isn't it really hard?" He replied, "No, it's actually only about 5 minutes", but he also said, "While the movements seem to be slow, there are very detailed parts that require effort to express them, so it can be difficult at times because I have to hold my breath during those parts." I was watching Mao Daichi's movements as if she was picking up Yuzu, like he was being picked up by a god, that kind of expression is amazing to see in real life. After all, Mao Daichi's divine demeanour is amazing, isn't it? I think it's interesting because it's a combination of two top performers from different genres, and when I watch the program that brings those two together, I think, ``Wow, that's amazing.''

--It feels like Daichi on stage and Hanyu on the ice are working together as one.

Really, it's just overwhelming. At first, I wondered how the collaboration would go, but when I saw them rehearse for the first time, I was speechless. Something like, “… wow, that's amazing…”. “What the hell!” I thought. First of all, Yuzu has a huge presence. On top of that, Daichi's presence was also incredibly large behind Yuzu. Daichi-san's performance changes from the dark atmosphere in the first half to the scene where she changes quickly and becomes pure white in the middle made me think, ``Wow, she's a professional.''

--Mr. Hanyu's performance skills are amazing as he faces Daichi-san.

Yes, I agree. For example, if I were to perform Yuzu’s part, Daichi’s presence would be too strong and I would simply disappear. But I think the reason he can keep himself from being absorbed is because Yuzu has such a tremendous presence.

--It is true that just by standing alone on the rink, in that large venue, Mr. Hanyu gives off the impression that he is in control of the entire place.

At first, when Yuzu starts to skate, I think everyone’s wondering what's going to happen now. As Yuzu skates and Daichi-san suddenly appears, her presence is overwhelming at first. However, as Yuzu's movements become stronger and stronger from the middle, his presence becomes as big as Daichi’s. When I look at that, I think, "As expected."

-- Mr. Hanyu said that the program conveyed the message of experiencing the natural disasters and suffering that humans have no control over, and of resisting it, accepting it, and moving on.

That's how I felt when I first saw it. After all, it’s been true since the “Prologue" stage, his ideas were way ahead of us. When he tried to use games as the theme for RE_PRAY, I was blown away, and I think it would be very difficult for other people to fully express such an idea. In the first place, I think it is truly an extraordinary feat to be able to turn that idea into reality. The same can be said for his quadruple axel challenge. He was also an elementary school kid who said, "I'm going to win a gold medal at the Olympics!” and achieved that goal. Before we knew it, he has reached a truly amazing level and is creating a new era. I guess it’s something he was born with.

--During his amateur career, he has achieved numerous feats in the world of competition, and has defied conventional wisdom. I feel that turning professional has given him more freedom in his ideas.

I think that what we are actually seeing from him now is what he originally wanted to do and wanted to try. My simple impression is that I'm very happy and grateful to be able to see that part up close.

--After such an astonishing collaboration, in the second half, Mr. Hanyu performed a new piece, "Danny Boy".

Yes. I was talking with Akko-chan (Akiko Suzuki) about it, and she said, ``I'm really into programs with this kind of tune that Yuzu skates to.'' His movements really stand out.  During the actual performance, the finale was right after that and we were behind the curtain waiting for our turn, so it was a shame that we could only see a glimpse of the performance. So, the only way to see him doing it at 100% is in the video, but even watching him in practice, there was a part of me that thought it was really great to see Yuzu skating a program like that. Today's open practice was after my own practice, so I went to the rink side and watched it. It's amazing that he can skate songs from various genres, and the way it connects to the finale's “Song of Hope”, it’s like a story.

--Did you have a chance to talk to Mr. Hanyu during the performance?

Well, we do talk a bit during rehearsals and so on. Yuzu has been working on his training and various other things, and he says, “It's tough”, but I’m like, "No, it doesn't look like that at all!" Considering my age, Yuzu is still young, but essentially, performance declines with age. That is the fate of athletes, but he is working hard to build his body to do what he can. I think that's the theme he talked about when he turned professional, his attitude as a “professional athlete”.

--He said that he will continue to evolve physically as well.

In fact, I think so. I think it is extremely difficult to do this without compromising the technical aspects. People tend to think that athletes' bodies are strong because they train hard, but in fact, when the body starts to decline, the rate of decline is huge and fast. Because they are prone to strain at this stage, they may end up with more physical injuries after they retire. So, we have to be careful and make sure that doesn’t happen, but Yuzu is doing the opposite and trying to increase his level. I thought his body and his jump skills were well-honed even when he was competing, but now I feel like he’s in a slightly different realm. That's really what I think every time I see him skating in various places. It was the same when I watched Notte Stellata last year, and it was the same when I watched Fantasy on Ice. I think now, after the "RE_PRAY" performance, his body condition has improved considerably. I really feel that.

--Is there anything you feel that Mr. Hanyu usually pays attention to when it comes to taking care of his body?

When I met him at the dinner hall and so on, I thought that he seems to be eating better now. I haven't seen much of his training since he does them elsewhere, but looking at his physique, I think it's really well-balanced and toned. When you look at him from the side, he looks very thin and slender. However, you can see from the way he stands that he has a really strong body. I would say it's very solid. I feel like his body is perfect. When I met him, I asked him, ``Have you grown taller?'' and he replied, ``I haven't changed.'' But he kind of looks bigger. I feel like he’s taller than when he was competing, and I think it’s because his body has gotten stronger. This is what I thought when we met together for the first time in a while.

--In Mr. Hanyu's documentary program, he said, “I just want to make sure that oxygen gets distributed to my muscles.” “I have to stop thinking in order to get oxygen to my body”. I feel that he is reaching an amazing state.

“I want to get my body moving rather than thinking with my head”, I think that's what you have to strive for in order to handle such a long challenge by yourself. He is definitely doing things that an average skater can't do. Yuzu himself did one performance of his "RE_PRAY" and said, "It's really hard. My body is a wreck." However, compared to “Prologue” in the beginning, he’s definitely able to move better now till the end. 

--That's how he has evolved as a professional athlete.

I think so.

--It's really interesting to see the body from an athlete's perspective. I would also like to ask about Mura's performance. How did you choose the song for your solo performance "West Side Story"?

As expected, I chose it with the theme of the show in mind. In particular, after the Noto Peninsula disaster on New Year's Day, I was struck by the fact that those affected by the disaster definitely have someone they call their "loved one". I chose this song because I wanted to express my feelings towards that person in 'West Side'. I wanted to show that people are not alone. It's like the feelings you have for your friends, lovers, family and each other.

--Who did the choreography?

Mihoko Higuchi-sensei. I had a chance to meet her and she choreographed it last year.

--That's also a new collaboration.

Yes, that's right. When you change choreographers, you also get the characteristics of the choreographer, so there are a lot of movements that aren’t in previous programs. For example, the intervals between steps can be different from what I am comfortable with. So it was very refreshing. There are a lot of turns at the end, but I put in three clusters. I jokingly said, “I’d like to add a step-like feel towards the end”, and Mihoko-sensei said, "That’s it". And the cluster that came out was another difficult one (laughs). It’s not a typical rocker counter loop, but a back-in rocker, a back-in counter and finally a bracket. It's quite hard, this cluster. There are some combinations of turns that I would never have put in if I were competing.

 

--In that sense, Mura is still evolving.

Well, technically, I think it's really bad. I feel it every day. I normally teach as a coach, but when it comes the time for me to move, I sometimes feel a decline and think, ``Oh, that's not quite right.'' 

--I am reminded once again how amazing it is that you are able to perform so well even though you do not practice all the time, unlike when you were actively competing.

No, no, there is always a sense of crisis. I just can’t find much time to practice on my own.

--On the other hand, by teaching your students, do you have any feedback on yourself?

Teaching athletes has helped me to think about various aspects, such as “How should I improve my current physical condition?'' and “How can I compensate the weak areas with movement?''. My students have various characteristics, each with different qualifications and different jumping styles. I keep this in mind as I teach each of them to help them move more easily. Things I had originally imagined in my mind during competing times, after I started teaching as a coach, I was able to connect them to actual movements and made new discoveries. Sometimes I jump with the kids I'm teaching now, so I think there are some positive aspects there.

--Thank you for your valuable talk. Lastly, please give some words of encouragement to Mr. Hanyu.

Well, it's the same with "Notte Stellata" and the same with "RE _PRAY," and I think there are so many things that only Yuzu can achieve and embody. I'm really looking forward to seeing what you’ll do next, and I'd like you to show us a new world. One thing I'm a little worried about is that you might overdo it someday and break down. That's the only thing I want you to be careful about.

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 56-59
Info: https://x.com/AxelQuadruple/status/1790023081739575501

 

Quardruple Axel May 2024 Issue: Tanaka Keiji - On the basis of solid techniques

 

Tanaka Keiji is expanding his activities by appearing in numerous ice shows, including “Yuzuru Hanyu notte stellata 2024”. As an irreplaceable friend of Hanyu Yuzuru, who inspired each other in the men's single competition during his amateur career, we asked Mr. Tanaka to talk about the evolution of “Professional skater Yuzuru Hanyu” as he sees it.

 

Spoiler

--The second year of the "Notte Stellata" show has celebrated its opening day. What was it like being on the show?

I am of course happy that we were able to hold the show for the second time, and I'm glad that we were able to make the show even more exciting with the addition of new member Javi (Javier Fernandez).

 

--Mr. Hanyu created this show with themes of recovery from the Great East Japan Earthquake and hope for the future, but this year a large earthquake occurred on the Noto Peninsula on New Year's Day. I think it left a profound impression in the hearts of both the performers and the viewers.

I think this is a day that we really should not forget, and I think there are people who actually suffered from the disaster, people who know the hard times, and people who may not want to remember, but I feel that this show is performed with a very important concept in order to show hope for the future.

 

--After the show opens, Mr. Hanyu skated ``Notte Stellata'' by himself, which is also the title of the show. It is unusual to have a solo number before the opening, but this makes the concept of the show clear.

I think it is very important that the chairperson of the show skates first to clearly convey the meaning of the show to everyone before the show begins. By having Yuzu skated at the start, from there subsequently, I think the essence of the show was expressed well. It was a really important time for the show, and it felt like everyone were embodying the chairperson’s thoughts through their skating.

 

-- Did Mr. Hanyu say anything to his co-star skaters, such as, “Please skate with these thoughts in mind”?

Since it was being held at this time of year, everyone was aware of the atmosphere since last year. Last year, the performance date coincided with 3/11, so we understood the weight of that and the feelings that must be put into the skating. However, I also understand that it is even more difficult for the chairperson than for us. I think the other performers are also accepting of that. Or rather, we all stand by each other and support each other. I think everyone understands that, even if we don't say it in words.

 

--Did you have any thoughts about Mr. Hanyu that you felt during rehearsals?

Last year, I think there were a lot of times that he wondered, ``Is it okay to do a show at this time of year?'' This year, it may just be my own personal thought, but I felt that he’s spending this day with a slightly softer expression than last year.

 

--Indeed, last year, he expressed his thoughts very seriously when he greeted the audience.

It was the most difficult time for him, so I think he took the meaning of holding the ice show on that day very seriously. He puts his thoughts and feelings in various places, and although we do not see all of them, I think there are parts that are conveyed through each of his actions.

 

--This year, the collaboration with Mao Daichi became a hot topic. It was a co-starring performance between top entertainers. What did you think of "Carmina Burana"?

It was a magnificent stage. Both of them were truly divine. I only saw it on the monitor (in the backstage), but the power was conveyed even through the screen. It felt like they were showing something far beyond anything I could have imagined on the skating rink and on stage.

 

--At the end of the performance, Mr. Hanyu skated “Danny Boy” as a solo. How was your impression of this poignant and graceful program?

After Yuzu’s solo, the flow of the song leading to the finale is very fitting too, and I think it is a performance that is very typical of him. I think he expresses it very beautifully, and the sense of “the show is coming to an end, but there’s still hope from here on” is very much connected to the overall theme of the song.

 

--Some of the choreography seemed to express the theme of reaching for hope in spite of the hard times.

Yes. I only had one practice time with him, as I watched him perform, even though it was a rather difficult piece, I got the impression that he was taking each note seriously. I felt it was really amazing.

 

-- This time as well, I was able to once again feel the range of Mr. Hanyu's expressions through his collaborations and solo performances.

I think the fact that he is touring solo is a big factor. He is able to create a show by performing many different things on his own. Depending on the show we perform in, we usually have at most two solo numbers and one or two group numbers, but even that is a lot of work. So, to connect a show by oneself, one really needs to perform different things and learn many things. I think it is because he is exposed to so many opportunities all at once that he is able to create such a variety of expressions.

 

--Was it a surprise for you that he put together a show like this by himself? Or did you think that Mr. Hanyu would be able to do this much?

I thought it was possible for him to do it. Of course, at first I was like, “All alone!?'', but when I really thought about it, I realised, “It sure looks like he can do it.'' I guess there was something he wanted to do that much. Really, that part of him is amazing.

 

--How has Mr. Hanyu evolved since becoming a professional?

He already has world-class jumps and skating skills, so I think he has been thinking a lot about how to use them since he became a professional. In competitions, advanced techniques were incorporated into programs within the framework of rules, but now that the framework has been removed, we can use them in a variety of ways and present them in many different ways. In that respect, I think it's amazing that he is further honing his already high-level skills and working on even more advanced things.

 

--Have you ever been surprised by something that he does?

Of course, his technical prowess is amazing, but I focus on how it fits with the music. It is not so much about him doing something very difficult, but rather that he is using the choreography and program structure in such a way, or presenting it in such a way, that I admire. For example, it could be a part where he moves in sync with each note, or conversely, he might suppress that technique and just dance. He uses them in various ways. Since he already has all the advanced skills, I think the challenge now is how to use them. After all, if he just uses the technical skills, it will end up being something similar to a competition program, so the key is to subtract and add things and how to incorporate the correct elements into a new program. I feel like that is how he is presenting his style now.

 

--Since Mr. Hanyu has turned professional, what are the things you feel have remained the same or have changed in your opinion?

The part that has not changed is his concentration. The way he concentrates before he starts his performance is always amazing to watch. In fact, I think his ability to concentrate has become stronger than when he was a competing athlete. On the other hand, the things that have changed since he became a professional are, as I mentioned earlier, the range of his performances and the vision for what he wants to do. He has achieved many things through the new productions that he has pioneered in his solo ice shows, and I really feel that he is stepping forward and wanting to do many different things to showcase skating in new ways.

 

--I think it must be really difficult to have to deal with so much, are there times when Mr. Hanyu is relaxed and back to his true self?

I wonder. I only meet Yuzu during the show, so there is no time for him to relax. But during meals, etc. we see each other, and at those times, I think he takes care of himself.

 

--What do you mean by that specifically?

I think that for skaters, our body is the only means to express ourselves. Of course, we are here as professionals, so we take care of our bodies, diet, and many other things, but I feel that he takes even more care of his body in places we can't see. What I see is only a small part of him, but I think he is doing a lot more behind the scenes.

 

--As a professional skater, I think it is really wonderful that one can give courage and convey thoughts through their performances. Keiji-san, do you yourself see any difference between when you compete and when you perform in an ice show?

In an ice show, you have to have a theme and think about what you are going to do, so it is very difficult to choose the songs. In competitions, I think the order is fundamentally reversed, as I think about the theme after the music is decided. In competitions, the premise was to choose a song that could benefit us. However, when it comes to skating professionally, you have to first create a theme and then think about the music, costumes, and choreography, or things will go awry, so I think it's quite interesting but also demanding in that sense.

 

-- At this show, you performed “HOPE”. Please tell us about the theme and choreography of this performance.

I chose the song. The choreography is by Kohei Yoshino. The title is ``HOPE,'' but it is not about being full of hope from the beginning, but to push forward even though there are many hardships. You may experience a setback once, but you have the strength to get back up from that, and that’s what is being conveyed through the rap music.

 

--Did you have in mind that it would be performed at the show?

I had been thinking of doing this song for a long time, but the choreography only started after it was decided that I would be skating here, so I thought about what kind of feelings I would have if this song were to be performed here. I was working towards that since it would be performed for the first time in ``Notte Stellata''.

 

-- Even from the choreography, I could feel the determination to face hardships.

Really, it would be best if you could listen to the lyrics one by one (laughs). Mr. Kohei also carefully looked at the lyrics during practice, so I really felt the meaning of the lyrics and the song itself as I skated.

 

--Also, the collaboration number ``Saturday Night Fever'' with Mr. Mura was also a big hit.

This was also a pretty good choice of song (laughs). After all, Mura-kun is my senior, so it's interesting to work together with my senior and aim for something that's dorky and cool.

 

--I thought the collaboration with Mr. Mura was a great fit.

Even in the skating world, I think we are both on the larger side and the power type. It's not like we clash with each other in that aspect, but it's fun to be able to perform together like that.

 

-- Did you and Mura-san talk about something like, “Let's make it exciting here!”?

No, we were both really nervous, so it wasn't like that at all (laughs). Moreover, after the opening, after my solo number and group number, we skated towards the end of the show, so it's pretty tiring. I was quite tired when it was our turn (laughs).

--I see. So it was like you were giving it your all at the end.

That’s right.

 

-- Did Mr. Hanyu say anything when he saw it?

No, I’m not sure if he was watching or not. After that, he has his own performance, so I think he was concentrating on warming up. We just warmed up the venue for him (laughs).

 

--Speaking of warming up, there was a group number “Permission to Dance” at the start of the second part. It was a collaboration with a video of Mr. Hanyu. How was it?

In short, it's a fun time, and we did it with the idea of ``bringing as many smiles as possible'' to energize each and every one. Speaking of dancing, his movements truly have a unique vibe that only Yuzu can bring out. In a way, we were probably lucky because it was a collaboration with a video. Because if we were to dance side by side on the ice, only Yuzu would be in a different dimension… It's hard to dance next to him. I don't want to dance next to him too much, because I can't keep up with him if the music is too lively (laughs). Of course, this is a compliment!

 

-- Mr. Hanyu is so sharp.

That’s right. My movements are slow, while Yuzu floats around. That's how sharp he is.

 

-- Thank you for your valuable story. What have you learned from professional skater Hanyu through shows like this?

It's his "figure". I think it's amazing how he keeps coming up with new ways of expressing himself, the ability to tackle all kinds of new things without having restrictions.

 

--Lastly, please tell us what you expect from Mr. Hanyu in the future, and your own words of determination.

First of all, I would like to go to the venue myself and see the ice show. I am also a professional skater, so I want to see and absorb a lot of things, and I want to go see more solo shows too. I also want to absorb what I can and improve my range of expression. I would like to do my best to grow and develop so that when we perform again together, I can show new and evolved things and be worthy of standing on the same stage as a fellow professional. Also, as friends, I think it would be nice if we could spend some relaxing time together off-ice, outside of shows.

 

 

 

Tanaka Keiji talks about “Yuzuru Hanyu Notte Stellata” 2023 performance

 

--How did you feel when you received the offer to appear in the first show last year?

I felt very grateful to be invited to the show. Moreover, since the show was held on a very important day, it also meant that I would be skating a program with a concept appropriate for that day, so I strongly felt that I had to carefully select the songs to align with the theme.

 

--The show is filled with Mr. Hanyu’s message of wanting to deliver a ‘light of hope’.

At this time of year, I think the more you think about it, the more painful it becomes. Therefore, holding an ice show on that day was quite an experience. This cannot be done without determination. We put on a show after thinking carefully about the meaning of what we were doing on this day, so I felt that everyone put a lot of emotion into this show. There weren't that many skaters performing, but I felt the message of ``connecting many things together'' and that we all understood the meaning of doing it at that time and took on that challenge. I got the impression that everyone was skating in an atmosphere different from the usual shows.

 

--I feel that the experience of this earthquake has had a big impact on Mr. Hanyu’s outlook on life and how he approached competition. Having spent time with him, have you ever felt this way?

I think that at that time of year, he’d remember various things. I imagine that he’d realize again “I guess I’m alive”, and a resolve to “become even stronger”. Although he doesn't directly show us that, everyone around him is working toward recovery, and I get the feeling that he too is becoming stronger as he overcomes that day every year.

 

--At “Notte Stellata” held last year, he collaborated with gymnast Uchimura Kohei. It was very a groundbreaking attempt for an ice show.

It was really amazing. It was my favourite performance in “Notte Stellata”.

 

--What did you think of if when you saw it?

When I first saw Mr. Uchimura’s name, I was excited and wondered what kind of collaboration it would be. At the same time, I couldn’t imagine what the program would be like, wondering “What will they prepare?” and thought, “Maybe he’ll put in a horizontal bar or something”. In fact, there was a gymnastics floor next to the rink, and I was surprised, saying “This is really an amazing venue for a competition”. At that time, I couldn’t imagine how Yuzu would collaborate with Mr. Uchimura’s gymnastic routine. However, in the actual performance, the mood of the song and the costumes matched perfectly, and the two performers matched their timing in various ways, which was amazing. I was really overwhelmed.

 

--I thought the idea of a collaboration between two gold medallists from different sports was amazing, but to able to make it happen was also amazing.

That’s right. I think it must have been really difficult for the two of them to match their timing, since I don't think Mr. Uchimura usually competes in time to the music. However, during the actual performance, it didn’t feel like that at all and I was surprised to see how well it turned out, as if they had been doing it from the beginning. I feel that this is a performance that could only have been done by two people of that calibre.

 

-- I could sense a pride in both parties, as if they were saying to each other, “I'll match you”.

Yes, it felt that way.

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 76-81

Info: https://x.com/AxelQuadruple/status/1790024157121351998

 

Quardruple Axel May 2024 Issue: MIKIKO – A Solitary Realm

 

MIKIKO is a choreographer who is active worldwide in the entertainment field. Through "GIFT" and "RE_PRAY", she has created ice shows that completely overturn the conventional wisdom of figure skating. What does Yuzuru Hanyu look like to MIKIKO? We asked her about the backstage production and a number of precious anecdotes - Interview and text by Tatsuya Murao 

 

Spoiler

-MIKIKO, your first collaboration with Hanyu was during his debut ice show “Prologue” after he turned professional. I understand that you were in charge of directing for the programs "Haru yo koi" and "Itsuka Owaru Yume". 

MIKIKO: Yes, that’s right. I was mainly responsible for the ice projection, including the visual and performance effects.

 

-At that time, how did you draw inspiration from the programs for the projection effects? 

MIKIKO: "Haru yo koi" was already a well-known program, so when creating it, I aimed to preserve its established impression while also hoping to generate a synergistic effect. As for "Itsuka Owaru Yume", since it was a new program being revealed for the first time at “Prologue,” I first asked him about the background of the piece he chose and his mindset while performing it. Hanyu sent me a long text and also shared videos of himself skating on the ice rink. I tried to break it down to understand it, and then thought about various things such as "What kind of image is suitable?" and "What kind of appearance is more appropriate?". 

 

-What was the process of creating the visuals like?

MIKIKO: Usually in the live shows that I direct, images are often projected onto the background of the stage. It’s rare that I have the luxury to direct a performance where the entire venue could be used as a canvas such as in an ice show, so I was very happy about it. Being able to project images onto the huge, pure white ice surface was sure to guarantee a dynamic production, so I was very excited during the process. 

 

-I had the pleasure to watch Perfume's "Perfume LIVE 2021 "polygon wave"" produced by MIKIKO-sensei before. The venue at that time happened to be PIA Arena MM, and just like this time, the venue was used extensively for projection. 

MIKIKO: Yes. It was still during the COVID-19 pandemic, at a time when admission restrictions were finally relaxed, allowing live performances with up to 50% of the maximum capacity. We took advantage of this condition by not allowing the audience into the Arena (the inner part) and only setting up seating in the stands, which we thought would meet the 50% occupancy requirement. This allowed the entire inner venue to become the stage, and we set up LED Vision on the floor of the inner venue to create an effect similar to that on the ice surface. I hadn’t imagined collaborating with Hanyu at that point. I learned a lot from the Perfume performance, which eventually led to directing on an ice surface of the same shape. From a sequential task perspective, it was quite ideal for me.

 

-The skills developed in the live world have been effectively applied in directing ice shows.

MIKIKO: Yes, but ultimately, they are completely different genres. When producing “Prologue,” it was already decided that I would direct “GIFT,” which involved directing a performance at Tokyo Dome. When we first started communicating, we thought about trying to make two programs first, which was what happened during the session at "Prologue". So, if I have to say, "Prologue" was like a trial run. Because ice show is an unknown world to me, we had to experiment a lot with "GIFT", but there is also strength that comes with being in uncharted territory. Perhaps from the perspective of figure skating, it may seem like something unconventional, but from our point of view, only figure skating can achieve dynamic movements at such a fast speed. In a normal live show, there would never be a situation where one person performs endlessly on such a vast stage. So, for me, this kind of cooperation brings a lot of new possibilities. Furthermore, thanks to the miracle of his technical prowess and expression filling up the entire space of the venue, we somehow managed to overcome various challenges. However, after watching the official performance of "GIFT", I once again realised how amazing Hanyu-kun is, and at the same time I also thought, "Ah, the direction could be better." 

 

-MIKIKO, have you made any new discoveries or ideas through the official performance? 

MIKIKO: Although I had experienced filling up the entire dome like this in the past, no one was sure what synergy would be produced in the official performance. But in the end, the actual outcome was even more amazing than imagined. I think part of it was due to the emotional investment of the ice fans, and another part was that Hanyu’s emotional and mental investment in the performance was richer than I had anticipated. So, I realized, “Since we could achieve this level, the directing could be even better,” which sparked ideas like “This can be done, and that can be done.” I think this is also connected to “RE_PRAY.”

 

-Specifically, what kind of ideas emerged?

MIKIKO: "GIFT" was a showcase of Hanyu’s figure skating career to date, presented in an anthology format, weaving stories in between intervals to demonstrate that "the same person has a variety of colours”. As for "RE_PRAY", rather than that, I want everyone to have "the feeling of watching a movie or a stage play", so I incorporated game elements throughout the story and meticulously filmed the visuals performed by him. The story aspect of this can be seen as what I learned the most from “GIFT” and also where I made further refinements.

-When the overview of “RE_PRAY” was announced, the use of game themes was quite surprising. It was hard to imagine what kind of ice performance it would be. I couldn’t help but wonder, “What kind of performance will it be?” MIKIKO, what were your thoughts when you first heard Hanyu’s concept for “RE_PRAY”?

MIKIKO: Through various exchanges, we had a rough understanding of each other’s preferences. So, from the conceptual stage of “RE_PRAY,” we continuously brainstormed and bounced ideas around, starting with “What should we do next?” I am not familiar with games at all. For example, when he talked about "Itsuka Owaru Yume", he would explain it in terms of games, saying, "This is a Final Fantasy song, and it has this kind of ocean water feel, and it's like this..." In addition, as we talked about various things, he would always use game analogies or talk about game music at key points. Through this process, I felt that games had a huge influence on his way of thinking and his life. Gradually, I started to think, “Maybe a game-themed concept could be interesting.” However, precisely because games are a very important presence in his life, it was more challenging to direct this concept. It seemed like a simple idea at first glance, but it required careful handling. Therefore, I thought that directing this theme would need to be approached with caution. It's catchy, so all the more to be careful. But then we decided, “Let's be brave and make a game out of it!” And that's how it all started.

 

-So, the concept was born from the discussions between the two of you. Regarding the actual “RE_PRAY” ice show, the overall structure of the first and second halves is not just a straightforward presentation of the programs; instead, it incorporates various contrasts and echoes, giving the impression of meticulous and detailed production. It’s something that can’t be fully grasped in just one viewing, much like watching a movie or reading a novel.
MIKIKO: Yes, exactly.
 
-The projections on the ice, the visuals on the screens, the monologues, the music selection, and the choreography all seem to carry profound meanings, but it’s difficult to pinpoint the exact answers. Or perhaps there are no right answers. How did you and Hanyu come together to create the overall concept?
MIKIKO: While you can restart a game as many times as you want, life only happens once and cannot be replayed. On the path of life, there are various crossroads. Choosing one path (to the right) leads to one world, while choosing the other path (to the left) leads to another world. Decisions are constantly being made, whether “yes” or “no.” The interesting aspect of games is that you can see both outcomes through resets, but in real life, even if you think “what if” or “maybe there could be such opportunities,” you cannot walk both paths simultaneously and must make a choice. From my perspective, Hanyu has been making ultimate choices throughout his 29 years of life. Each time he makes a choice, whether it was the right one is judged entirely by himself. He lives in such a world. Games can be reset and played again, providing opportunities for redemption, but one's life is a path that cannot be retraced. I think he might want to affirm such an existence. For the audience, he hopes that they can project themselves into the same situation, conveying the idea that “what everyone feels here today is also a YES.” Therefore, even if there are audience members who watch all the performances, the experience of the same program might vary depending on specific days, moments, physical states, or events that occurred before coming to the venue. I think this in itself is remarkable. Hanyu, who exists in a world where “even performing the same program never feels the same,” probably wants to convey this affirmation to everyone.
 
-Hanyu himself said, "I hope it will give everyone an opportunity to think about something."
MIKIKO: So, even though both the first and second halves start with the same program, “Itsuka Owaru Yume,” different viewing angles reveal contrasts, such as appearing blue in the first half and pink in the second half. I wasn't sure if it would work, and I thought, "I think it's going to be difficult," but in the end, I think it worked very well. Also, even though both halves use “play”, the first part is 'play' with an 'L' and the second part is 'pray' with an 'R' (note: there is no L sound in Japanese so both word sare written the same in Japanese "プレー"). Accordingly, the skating style of the first and second half has also been adjusted. The intent was to show that "even the same person's performance can be so different". There is also an emotional aspect related to “not being able to save progress in the game and having to start from the beginning.” “Even if you start from the beginning, the scenery changes dramatically if you choose a different path” is the feeling we aimed to portray.
 
-The "L" and "R" of "プレー" you just mentioned. Who designed this way of wording?
MIKIKO: Although the name plays on “replay” with the added meaning of “pray” in “プレー (pray),” I think Hanyu-kun originally had the term “RE_PRAY” in mind. So, during brainstorming, the idea of “the concept for the first half using ‘L’ for ‘play’ also seems good” came up midway.
 
-That's really interesting. How was the overall structure decided?
MIKIKO: First, Hanyu decided on the setlist (order of songs), and then he wrote down the corresponding storylines. After that, he wrote the actual monologue scripts to be used in “RE_PRAY,” and based on this, I created the production plan. Sometimes I would suggest, "I think it would be good if such a scene happened here," and he would agree, "That sounds good. Let's do it that way," and we had these conversations quite often. Then I came up with the idea of "Hanyu-kun holding the game controller on the right, with the game screen on the left," and Hanyu-kun continued to think about the narration that would correspond to that scene. Within the process, we also wrote ideas like "It would be interesting to swap ‘R’ and ‘L’."
 
-The “R” and “L” also have a contrasting meaning of right and left.
MIKIKO: Exactly. So, in the second half, Hanyu’s position was also reversed left and right. There are a lot of things like that. While this was just a small pleasure for the creators, such wordplay was added during the process, and we often discussed whether “it would be better to end in this way.” The entire production was completed through this back-and-forth process.
 
-I was surprised to see how well-detailed the visuals were, and the setting where Hanyu controls the game world himself—was this also your idea, MIKIKO?
MIKIKO: After I got the general concept from Hanyu-kun, I thought, "Let's start with this kind of image here”. For example, a scene like "Hanyu-kun enters an 8-bit game world and fights in costumes from his past performances”. After that, we talked to the producer in charge of the video, appointed a director, and decided on a creator. This is roughly how the process went.

 

-I also truly felt the power and excellence that comes from bringing together top professionals. This time, there was also a program choreographed by you, MIKIKO, for the first time. Is this your first time choreographing for a figure skating program?

MIKIKO: Yes, it is my first time choreographing an entire program. Previously, for Hanyu's performances of DA PUMP's "if..." and Mika Nakashima's "GLAMOROUS SKY" at "Fantasy on Ice," the choreography was done by him, and I just gave some suggestions for modifications. For example, I gave some advice from a dance perspective, "Here, it would be better if the hand direction is this way." In the process, I also took the opportunity to learn some figure skating techniques. This time, however, I choreographed an original piece using a song by Shiina Ringo.

 

-Did Hanyu ask you to help choreograph a program? 

MIKIKO: Yes. We also decided on the song selection together. This was the second program in the first half. When everyone was discussing "Can we arrange any good music here that will make people immersed in it?", he proposed "I want to add some music that is different from what I usually listen to", so I sent him a collection of songs that I thought would be suitable. Among them, he chose Shiina Ringo's "Chicken, Snake and Pig". 

 

-Choreographing for figure skating must be different from choreographing for dance on the floor, right?

MIKIKO: I definitely felt that it was very challenging. It’s similar to how some parts of "GIFT" were done based on a lack of knowledge about ice shows, and I approached it with a similar lack of understanding about figure skating choreography. I would think about the upper body movements as I would for regular dance. On the other hand, for the footwork, I could only suggest things like "I think you should move back and forth a few steps, then a few steps forward." I could only convey the image like this. So, it’s not so much me doing the choreography alone, but more of a collaboration. Even though it was difficult, it felt like "full of possibilities" because there are things that cannot be done in floor dance.

 

-What you can’t do on land but can do on ice is to move while skating, right? 

MIKIKO: Yeah. 

 

-Do characteristics of figure skating have a positive effect in showing dance? 

MIKIKO: Ah, I think this is a very difficult thing. After all, the feet have to keep gliding on the ice. In particular, the dance movements I designed are movements where the feet are like buckles (fixed) while coordinating with the upper body. If the foot movements are not consistent, it will be very difficult to move the upper body. So, I think he really practiced a lot for this program. 

 

-The transfer of the choreography on land to the ice must have been done by Hanyu himself, right?

MIKIKO: Yes. The footwork was entirely finalized on the ice. Initially, I choreographed the dance for the entire song, and after rehearsing with the mirrors, he memorised the movements and then tried them on the ice. Later, adjustments were made at the Sendai rink, such as "If we do this move here, it won't work," or "Let’s remove this part of the dance and focus on the footwork."

 

-This program seems to be based on the image of a straight line?

MIKIKO: Yes, before choreographing, we already had the image of "moving forward on a single path, against the wind." So, I thought of using lighting and lasers to create a path on the ice, designing movements that made it look like not wanting to leave this path. It was choreographed with many intentional constraints.

 

-In figure skating, where movements are typically curved, maintaining a straight path must indeed be very difficult?

MIKIKO: That's true. So, the fact that he manages to skate without being hit by the laser light is already quite impressive. Though, again, I’m not very knowledgeable about these details, so I’m just guessing (laughs).

 

-It seems that Hanyu’s technical skills were crucial in achieving such a performance.

MIKIKO: I really think so. 

 

-As a choreographer for dancers and artists, how do you perceive Hanyu’s performance as a performer?

MIKIKO: His dedication to performance, daily lifestyle, and the preparation he undertakes to perform in front of an audience are things that I think everyone should learn from. If I were to evaluate, I would say, "I’m very grateful for him showing us that kind of attitude."

I have been working with BABYMETAL since they were in the fifth grade, and with Perfume for 25 years now. Although sometimes I feel sad that so much time has passed, but because they have always worked tirelessly, I genuinely hope they can create something that touches people’s hearts, which is why I haven’t given up over these 25 years. And among this, someone like Hanyu, who has numerous fans and has won gold medals, still feels that he is "far from perfect" in the art of expression and continues to pursue it relentlessly. When I learned that he had put in such a huge effort, I really sighed, "It really is so." To me, achieving a performance that genuinely touches people’s hearts and standing in front of others can only be done through such a life-or-death effort.

 

-Hearing such sentiments from someone like you, MIKIKO, really makes me think how remarkable Hanyu is.

MIKIKO: I think he probably won't lose to anyone at this point. Although it may be a bit strange to say that he "won't lose to anyone", he really worked hard to the point where people would think that (not losing to anyone) is "natural". 

 

-In the solo show, he performs more than 10 programs by himself. He hardly ever takes a break, even while the video is playing between performances.

MIKIKO: Yes, after all, he still has to change costumes. 

 

-During the ice show, will you see Hanyu backstage? 

MIKIKO: I was sitting on the audience side, observing the overall effect in the venue, so I didn’t see the backstage.

 

-How did you feel while watching the show? 

MIKIKO: As I mentioned earlier, I only watched figure skating as an ordinary viewer, so I’m completely unfamiliar with the details of the competition. As for the performance, "Messenger of Ruin", it included many high-difficulty jumps and spins—so much so that it could even be directly entered into a competition, right? I watched that program every time and gradually began to understand the timing and difficulties of the jumps, so during the official performance, I felt like, "Ah, please!" If I were his mother, I would probably be too anxious to watch, thinking "I want to go outside..." I’d be scared to that extent. There’s this kind of drama in just two and a half minutes, and even if he made a mistake in a jump, he’d have to continue skating without losing heart. The more I know, the more afraid I become. But at the same time, I could see that the fans were moved by this, and I think I also understand what it means to fight alongside him.

 

-In the program "Messenger of Ruin", what he challenged himself was to skate an already difficult skating composition without making any mistakes. Even after becoming a professional, he must continuously evolve, which is probably also the driving force behind Hanyu's progress.

MIKIKO: He didn’t say he was retiring, but used the term “turning pro” I think he practices and embodies this in his daily life. 

 

-Figure skating is a sport, but the artistic component is also significant. Has your view of the sport changed through your interactions with Hanyu?

MIKIKO: I sometimes thought that the dilemma he felt when he was a competitor was reflected here. The world of expression is influenced by individual preferences, and there is no so-called standard answer. Because of this, it is a world of both joy and pain. While scores can simplify things in competitions, they can also bring about significant pain. In the absence of a clear answer to the question "What is the standard?", it would be more fitting for him, who has been relentlessly pursuing his own expression, to go to a world where there is no answer. Even though we live in a world without scores, technique is still essential before performance. In other words, it should be performed by people who already possess technical skills. So, what he does is not fundamentally different from what we do. First of all, having skill is a given; in my view, it is only those whose expressiveness is so strong that people forget to admire their "skill" who are truly remarkable. In this sense, Hanyu jumps so easily and lightly, and expresses them so easily, that viewers don’t understand how difficult it is. So, we keep asking him for more and more (laughs). But I think this is a requirement for someone who reaches the "professional" world.

 

-What you said is very meaningful. 

MIKIKO: You first need to have technique, and then think about how to express music and emotions. I think that’s the way it should be.

 

-I feel that his solo performances have really transcended the traditional boundaries of figure skating. What Hanyu aims to achieve can no longer be summarised with just "skate".

MIKIKO: I think that's indeed the case. What will he create next? 

 

-I am looking forward to him surpassing everyone’s expectations once again. Changing the topic, the ice show "Yuzuru Hanyu Notte Stellata 2024" was held in Miyagi Prefecture a few days ago.

MIKIKO: I was also there to watch it. 

 

-Hanyu skated the solo program "Danny Boy". This song was recommended to him when he appeared on Gen Hoshino's TV show. It turns out that Hanyu was also greatly influenced by Hoshino. 

MIKIKO: That's right. 

 

-He also performed "Koi Dance" at an exhibition, and I was reminded once again that there was a connection with MIKIKO there as well.

MIKIKO: At that time, Hanyu-kun was dancing "Koi Dance" with his friends in a sort of lounge area, and the video spread on Twitter. After I found out, I silently posted something like " Yuzuru-sama also did the Koi Dance..." (laughs). He told me, "I already knew this." and said, "I thought at that time: 'It's been conveyed!'" (laughs). 

 

-Hearing these stories from then to now is truly moving. How did you feel after watching "Notte Stellata"?

MIKIKO: Both "Danny Boy" and "Carmina Burana", which he collaborated with Mao Daichi, were choreographed by figure skating choreographers. When I look at them objectively, I reaffirmed their excellence. Then, what surprised me was to see how much his body had changed after the Yokohama performance from the Saga performance of RE_PRAY.

 

-He himself said that the Saga performance was physically tough.

MIKIKO: During this period of more than a month, I think he himself had a strong desire for revenge. There was a feeling of "I will change!" Wasn’t he also working on choreography for “notte stellata” at the same time? And he had to further polish his new programs. Under these conditions, there were significant changes in his skating style and strength, making me feel "Wow, he’s still evolving", and in a sense, it was also "terrifying". 

 

-Probably the tension of facing the ever-evolving Hanyu.

MIKIKO: After watching the actual performance, the video creator of the ice show had a sparkling look on his face. It was obvious that the staff working with him felt it was rewarding, and I think that's because Hanyu-kun gives so much back to us in the actual performance. This is truly a give-and-take relationship; motivating the staff and making them feel the value of their contributions is essential for the performer. Because of this, we feel that "we must create excellent works." Through his performance and attitude, he has built a very positive relationship.

 

-I often hear the same sentiments from the staff involved in the shows.

MIKIKO: That's true. Watching him practice, it instantly makes you want to get serious and not be half-hearted. It’s hard to express, but you definitely can’t slack off. If everyone doesn’t perform at a high standard, there will definitely be something that feels out of place.

 

-It’s precisely this attention to detail that makes the ice show so high-quality.

MIKIKO: I really think so. 

 

-Thank you for sharing so many valuable insights. Lastly, do you have any expectations or hopes for Hanyu's future achievements?

MIKIKO: As I have said in various interviews, as someone who has been in the entertainment industry, having seen and created many things, I want to believe that “there are things that Japan can be proud of”.  When I saw the actual performance of "GIFT", I felt that this potential was further expanded. It felt like witnessing "the moment a new door open" to an unprecedented world of entertainment, where figure skating is combined with visuals, lighting, and music, creating a tremendous synergy. So, I hope more people can appreciate his ice shows and that those who need to see it will have the chance to enjoy it. While making Hanyu-kun’s fans happy is a primary goal, I also hope to move those who aren’t normally interested in such performances, so that people from other fields in the world can also be touched. He is truly doing something very difficult. Both physically and mentally. In order not to crush his potential, we also want to work tirelessly. It would be great if we could try our best to do something to support him. Although it is a bit exaggerated to say this, I hope it will benefit Japan and the world.

 

[Wintek]

*Machine translation from Japanese to English. Inaccuracies exist*

 

Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 76-81
Info: https://www.yamakei.co.jp/products/2823907850.html

Quardruple Axel May 2024 Issue: Special Guest [Talking about Hanyu Yuzuru] MIKIKO

A Solitary Realm

 

MIKIKO is a choreographer who is active worldwide in the entertainment field. Through "GIFT" and "RE_PRAY", she has created ice shows that completely overturn the conventional wisdom of figure skating. What does Yuzuru Hanyu look like to MIKIKO? We asked her about the behind-the-scenes production and a number of precious anecdotes.

 

Interview and text by Tatsuya Murao (this magazine)

 

–The first time you worked with Hanyu was in his first ice show after turning professional, "Prologue." I heard that you were in charge of directing "Haru yo, koi" and "A Dream That Will End Someday."

 

MIKIKO: That's right. I was mainly in charge of directing the images projected onto the ice.

 

Spoiler

--What kind of inspiration did you get from the program at that time when you came up with the video?

 

MIKIKO: "Haru yo, Koi" was already a famous piece that everyone knew well, so I created it with the intention of not destroying that image and creating a more synergistic effect. As for "Itsuka Owaru Yume," it was a new program that was being shown for the first time at "Prologue," so I first asked him about the background to choosing this song and the feelings he had as he skated. Hanyu gave me a very long text, and then he sent me a video of himself skating on the ice rink. I worked hard to break it down, thinking about what kind of video would suit it, what kind of texture would suit it, and so on, and created it.

 

---How was the process of creating the video?

 

MIKIKO Usually, in the live shows that I direct, I often project video onto the background of the stage, so it's rare that I get the luxury of being able to use the entire floor as a canvas like in an ice show, so it's something I'm very happy about. Being able to project video onto such a large, pure white rink meant I was guaranteed it would be a dynamic production, so I was excited to create it.

 

—I saw Perfume's "Perfume LIVE 2021 [polygon wave]" directed by MIKIKO, and the venue at that time was Pia Arena MM, and like this time, the floor space was used extensively to display the video. It was projecting.

 

MIKIKO Yes. At that time, we were still in the midst of the coronavirus pandemic, and the admission restrictions had finally been relaxed to allow up to 50% of the maximum capacity to attend the concert. We thought that we could meet the 50% requirement by taking advantage of that condition and not filling the arena, but only the stands. We could then use the entire arena as a stage, so we installed LED vision on the floor, as if it were an ice rink.

 

At the time, I didn't expect to collaborate with Hanyu, but I studied a lot of things with Perfume first, and then we ended up producing a rink of the same shape, which was great for me in terms of the sequence.

 

――The skills you have cultivated in the world of live performances are very useful when directing ice shows.

 

MIKIKO: That's right. However, I felt that it was a completely different genre. At the time of "Prologue," it had already been decided that I would be directing "Gift," and in order to direct the performance at Tokyo Dome, we started by communicating with each other and decided to create just two songs for 'Prologue.' So, 'Prologue' was more like a trial run, in a way.

 

Since ice shows were an unknown world, there were aspects of 'Gift' that we approached cautiously, but I think there was also a strength that came from both of us being in uncharted territory. Perhaps from the perspective of figure skating, what we were doing might have seemed unconventional, but from our point of view, only figure skating can move so fast and dynamically. In normal live performances, performers don't typically move about so freely on such a vast stage. So there were a lot of new possibilities for me. And then there was the miracle of being able to fill the space of the venue with his technical prowess and expressiveness. We managed to overcome it somehow, but when I saw the actual performance of 'Gift,' I was once again struck by Hanyu-kun's greatness. I also felt, “"Ah, there's still more room for improvement in terms of directing.”

 

– After the actual performance, did MIKIKO-sensei come up with new discoveries and ideas?

 

MIKIKO: “Let's fill the entire space of the dome in this way” is something I have experienced in the past, but I had no idea what kind of synergy would be created during the actual performance. However, the synergistic effect was more amazing than I expected. I think the reason for this is that the feelings of the fans and the commitment that Hanyu has put into this project were greater than I imagined. Then I realized, “If I can do this much, I can do even more in terms of direction,” and I started to get ideas like, “I can do that, and I can do that, too.” I think this is connected to "RE_PRAY".

 

---What specific ideas did you come up with?

MIKIKO: "In 'Gift,' we showcased his skating life up to that point in an omnibus format, interspersing stories between each segment to demonstrate that  "even a single person has many different colors." 

For 'RE_PRAY' this time, rather than that, was "I want the audience to feel as if they have finished watching a movie or a stage play." So, I incorporated elements of 'games' throughout the story, and we also worked hard to create footage of him performing. The story aspect was the biggest lesson we learned from 'Gift,' and we further refined it."

-When the outline of the RE_PRAY show was announced, I was very surprised that it was based on a game. I couldn't imagine what kind of show it would be at all, and wondered what it would be like.

 

MIKIKO Through our communication, we had come to understand each other's tastes, so for “RE_PRAY,”' we brainstormed together from the concept stage and discussed, “what should we do next?”

 

I was not familiar with games at all, but for example, when he talked about ‘Someday the Dream Will End’, he would explain it in terms of games, such as ‘This is a song from Final Fantasy, with this kind of sea and water texture, like this, ・・・・・・’. At important points in our discussions, game metaphors and game music would always come up. Through this process, I could sense that games have had a great influence on his way of thinking and life, and gradually I began to think that it might be a good idea to use games as a theme. But for him, games are a very important part of his life, and it is difficult for me to handle them when directing. At first glance, it may seem easy, but it is a subject that must be handled with care. That's why I thought it was a subject that had to be carefully directed. It's catchy, so you have to be careful. But then we decided to be brave and make a game out of it. And that's how it all started.

 

--The concept was born out of a conversation between the two of you, wasn't it? I felt that the show was not just a simple sequence of performances, but was meticulously created with a lot of contrasts and repetitions. As you said earlier, it's like watching a film or reading a novel.

 

MIKIKO That's right.

 

--I imagine that the projection mapping on the ice, the images on the screen, the monologues, the music selection, the choreography, all have a deep meaning, but it is difficult to find the right answer. Or perhaps there is no correct answer. How was the overall concept created between Hanyu-san and MIKIKO-sensei?

 

MIKIKO You can reset the game and start over again, but you only live once, and you can't start over. As we walk through life, there are various branches, and if we choose this (right) path, we will end up in this world, and if we choose this (left) path, we will end up in this world, and so on, making a series of yes or no choices. The fun of the game reset is that you get to see both of them, but even if you think “what if” or “maybe this” in your life, you can't go down both paths, so you have to choose one.

 

I think he has been making the ultimate choice all through the past 20 years of his life. Each time, he has lived in a world where it is up to him to decide whether the choice he made was the right one or not. There's some relief in the game because you can reset it and play it again, but he has been on a path where he can't reset it. Maybe he wants to affirm that, and he wants the audience to put themselves there, to project themselves and say, ‘What you are feeling here today is also a yes’. So, even if there are audience members who have seen all the performances, the way they feel on this day, at this moment, in this physical condition, before they came here, and the way they feel on another day's performance are different, even if it is the same performance. That in itself is a wonderful thing.

 

I think that Hanyu himself wanted to convey to everyone the significance of living in a world where “the same performance is never the same even once.”

 

--- Mr. Hanyu himself said, ``I hope it will give everyone an opportunity to think about something.''

 

So the first and second parts start with the same performance, ‘A Dream That Will End Someday’, but depending on the angle you look at it, what appears blue in the first part appears pink in the second part, and so on. I wasn't sure whether this would work or not, I thought “it might be difficult,” but I think it worked very well. And then, play is play(*), the first part is ‘play’ with an ‘L’ and the second part is ‘pray’ with an ‘R’. So the way he skates between the first and second parts is also different. I think it was also meant to show that even within one person's expression, there are so many differences.

 

And the feeling of not being able to save the game in the middle and having to start from the beginning. It depicts the feeling of starting from the beginning but seeing such a different view if you take a different path.

 

(*)  “プレイはプレイ” Japanese writing system has only Rs instead of Ls.

 

--Whose idea was it for the way you spelled the "L" and "R" in "play" that you just mentioned?

 

The title of the performance is a combination of the word "replay" (リプレイ), which means starting over, and the word "pray," (プレイ)  which means prayer, and I think he originally had the word "RE_PRAY." So, while we were brainstorming, I guess the idea that came up was, “Maybe the concept for part 1 should be L's play.”

 

---Very interesting. How did you decide on the overall structure? 

 

First, Hanyu decided on the setlist (order of songs), and then he wrote the story he would weave around it. After that was completed, I asked him to write the actual narration that plays in "RE_PRAY," and I created a production plan for it. From my end, I would propose ideas like, 'It would be nice if this happened here,' and we would have exchanges like, 'That sounds good. Then let's do it this way.' For example, I came up with the setting where Hanyu-kun holds a game controller on the right side, and there's a game screen on the left. Hanyu-kun would then think about the words spoken there. Within that process, there were moments where I wrote things like, 'It might be interesting if R and L were flipped.'

 

–The ‘R’ and ‘L’ also have a contrasting meaning of right and left, don't they?

 

That's right. Therefore, in the second part, Hanyu-kun's position is reversed between left and right. There are a lot of things like that. Sometimes it's just a little bit of fun on the part of the producers, but we played with words and other things while creating the production plan, and then we would play catch-up with each other and say, “If so, would you like it to end like this?” 

 

—-I was surprised by the detail in the video, but was it MIKIKO-sensei's idea to create a setting in which Mr. Hanyu plays the role of Mr. Hanyu in the game world?

 

MIKIKO I get the idea from Hanyu, and I think, ‘This is where the film will start’. For example, ‘Hanyu enters the world of an 8-bit video game and fights in the costumes of past generations’. We then discuss this with the video producer, appoint a director, and then decide on a creator, and then create the film.

 

---I felt that it was really amazing when a group of top professionals gathered together. Among these performances, there was also a program choreographed by MIKIKO Sensei for the first time. Is this the first time you've performed figure skating choreography?

 

MIKIKO: This is my first time choreographing a full program. Before that, Mr. Hanyu choreographed DA PUMP's "if..." and Mika Nakashima's "GLAMOROUS SKY" that were performed on "Fantasy on Ice" by himself, but I helped him brushed them up. It's like giving advice from a dance perspective, like, “Is it better for him to position his hands like this?” In the process, I also studied skating techniques, and this time I decided to perform an original choreography for Ringo Sheena's song.

 

- Did Hanyu-san ask you for a song?

 

MIKIKO Yes, we decided on the song together. It was the second song in the first part, and we were talking about ‘what would be a good song to get into here’. He wanted something with a different taste from the genre he normally listens to, so I collected songs I thought would fit and sent them to Hanyu-kun. One of them was Sheena-san's ‘Chicken, Snake and Pig’, and he said, ‘This song is good’.

—Was the figure skating choreography different from the floor dancing?

 

MIKIKO: I felt that it was very difficult. That's the same as when I did ``Gift,'' there were parts that I was able to do because I didn't know the common sense of ice show choreography.I don't know the common sense of figure skating choreography, so I did the same thing as usual. Think about the upper body choreography. On the other hand, when it comes to the movement of your feet, you can only convey an image, like, “I want to do something like this, moving back and forth, flowing forward and back.” So, rather than me choreographing it alone, it feels more like a collaboration. It was difficult, but there are so many things that land dance can't do, so I feel like there are only possibilities.

 

–Do those skating characteristics have a lot of positive effects in terms of showing off your dance?

 

MIKIKO: No, I think it's quite difficult. After all, when you're on ice, your feet tend to slip. In particular, in my choreography, the feet act as a clasp and move in conjunction with the upper body, so I think it's very difficult to get the upper body to work together if the feet are not engaged. So I think he practiced a lot when doing this program.

 

–Mr. Hanyu himself was responsible for transferring the movements you choreographed on land to the ice, right?

 

MIKIKO  Yes.  The movement of his feet was completely decided on the rink. First, I would create the choreography for one song, we would do it together in front of a mirror, memorize it, and then we would try it out on the rink. Then we would try it on the rink in Sendai, and I would say, ‘If you do this move here, you can't do that’ or ‘Then let's eliminate that move and give priority to the feet’.

 

–This program was based on the image of a straight line.

 

MIKIKO: Even before I choreographed it, I had the image of “just moving forward on a single path, even while fighting headwinds.”' So, I wanted to create a path on the rink using lights and laser beams so that it would not move out of the way. The choreography was deliberately created with quite a few restrictions in place.

 

---I think it would be really difficult to create a choreography that involves skating in a straight line, when you skate in curves.

 

MIKIKO: That's right. That's why I think it's amazing that he can skate to avoid being hit by lasers. I don't know about this, so I'll just say whatever I want (lol).

 

–I feel that it is only because of Mr. Hanyu's technical skills that this performance is possible.

 

MIKIKO: I really think so.

 

--MIKIKO sensei, You usually choreograph dancers and artists, what do you think of Yuzuru Hanyu as a performer?

 

MIKIKO  His pursuit of expression, his daily routines, and his preparation for standing in front of the audience are something that all humanity should learn from. Thank you for showing us that, indeed, that's how it should be.

 

I have been working with Perfume and BABYMETAL since they were in the fifth grade of primary school, and I have been working with Perfume for 25 years now. I believe that it takes that long, and I've been doing this for 25 years without giving up on that, all the while hoping that it's a world that strikes a chord because of their tireless efforts.

In such a context, seeing someone like Hanyu-kun, who has many fans and has won gold medals, still striving to pursue 'more and more' in terms of expression, when I learned about the level of effort he puts in, I thought, 'That's right, isn't it?' Without exerting such efforts, one cannot deliver a performance that touches people's hearts, and one shouldn't stand in front of others.

--MIKIKO sensei, I feel that Hanyu-san is amazing for making you think so much of him.

 

MIKIKO I think he is unbeatable. It may be strange to say that he has not lost to anyone, but he is doing so well that it makes me think, ‘This is how it should be’.

 

--- In a solo performance, he performs more than 10 acts by himself. He hardly ever take a break, even while the video is playing between performances.

 

MIKIKO Yes, because he changes clothes.

 

— Have you seen Hanyu backstage during the show?

 

MIKIKO I'm on the audience side, looking at the whole thing from the very back of the audience, so I don't see backstage.

 

---How do you feel when you are watching the performance?

 

As I mentioned earlier, I only watched figure skating as a citizen, so I didn't know much about the sport at all. In terms of this performance, “The Envoy to Destruction'' [Dark Messenger] has a number of highly difficult jumps and spins, and it has a composition that could be used in a competition, right? You see it every time. By doing so, you will gradually understand the timing of the jumps and the points that seem difficult, so even when you are watching the performance, you will feel like “Oh, please!” If I were his mother, I wouldn't be able to look at him and would be like, “I want to go outside…” That's how scary it would be. The more I learned that there was such a drama in two and a half minutes, and that even after failing a jump, one had to continue skating without giving up, the more scared I became.

 

But at the same time I could see that the fans were moved by this, and I knew at the same time what it meant that they were fighting together with us.

 

—In “Envoy to Destruction”, he was challenged with a composition in which it would be difficult to make no mistakes. I think the fact that he is still evolving as a professional athlete is the driving force behind him, isn't it?

 

MIKIKO  He didn't retire, I think he embodies the use of the words "turning pro" every day.

 

--Figure skating is a sport with a large artistic component. Did your relationship with Mr Hanyu change the way you think about this sport?

 

MIKIKO I sometimes thought that the dilemma he felt when he was an athlete was here. The world of expression is influenced by people's tastes and lacks definitive answers. It's easy to resolve this with scores in competitions, but there were moments where he struggled with the numerical aspect. I think that, in the absence of a clear answer to the question ‘what is the standard?’, it would be better for him to go to a world without an answer, so that he would not stop pursuing his own expression.

 

We live in a world without scores all the time, but technique is definitely necessary before expression. It is the person with the technique who puts the expression on top of the technique. So what he does is the same as what we do. Initially, having technical prowess is a given, but what truly stands out is someone who possesses expression to the point where people don't just say, "Your skills are amazing."

 

In that sense, Hanyu jumps so easily, so lightly, and turns it into expression so easily, that the viewers don't understand how hard it is. That's why I keep requesting him (laughs). But I think that is the condition of a person who is allowed to come to the world of ‘professionals’.

 

—It's a very deep story.

 

MIKIKO I think that first there is technique, and then it becomes about expression - how to express music, how to express emotion.

 

---I think what he is doing in the solo performances right now is really going beyond the framework of traditional figure skating. What Hanyu wants to do can no longer be summed up in the word “skating.”

 

MIKIKO I think you might be right. I wonder what will come out next.

 

---I am looking forward to seeing you go beyond the imagination again. By the way, the other day, ‘Yuzuru Hanyu notte stellata 2024’ was held in Miyagi Prefecture.

 

MIKIKO I also went to see it.

 

--- Mr. Hanyu performed his solo number "Danny Boy." This song was introduced when Mr. Hanyu appeared on Gen Hoshino's TV program, and Mr. Hanyu was originally greatly influenced by Mr. Hoshino.

 

MIKIKO That's right.

 

–“Koi Dance” was also performed at an exhibition, and I was reminded once again that there was a connection with MIKIKO sensei there as well.

 

At that time, a video of Hanyu-kun dancing the ``Koi Dance'' with his friends in some sort of dressing room was circulated on old Twitter. So I tweeted something like ‘Yuzuru-sama is dancing the love dance ..................’ (laughs). He said he knew about it. I thought, “‘it has arrived’ I thought” (laughs). 

 

--I was also deeply moved to hear the story that led from there to now. What did you think of Notte Stellata?

 

MIKIKO ‘Danny Boy’ and “Carmina Burana”, a collaborative number with Mao Daichi, were choreographed by a figure skating choreographer, and when I looked at them again objectively, I could reconfirm their excellence. What also surprised me was how much his body had changed after the Yokohama performance from the Saga performance of RE_PRAY.

 

—He himself said that the Saga performance was physically demanding.

 

I think there was a part of me that felt like revenge during this past month. It's like, "It's still going to change!" During that time, wasn't he also working on the choreography for “Notte Stellata”? Also, brush up on his new number. However, I noticed that things like the way he skated and his strength had changed so much that I felt, in a sense, that he was still evolving, which was scary.

 

-- The tension of facing the ever-evolving Hanyu.

 

The video creator of the show has a sparkling look on his face after watching the actual performance. When I watch them, I can clearly see that the staff members I work with find it rewarding, and I think that's because Hanyu-kun gives so much back to us in the actual performance. The relationship is really give and take, and it is the players themselves who are responsible for motivating the staff around them and making them feel fulfilled. That's why we feel that we too have to create something good. I think we have built a really good relationship because of his acting and attitude.

 

– I often hear similar stories from the staff involved in the shows.

 

MIKIKO That's true, isn't it? When I watch him practicing, I feel as if my back is straightened, and we can never do things properly. It's difficult to say, but we can never cheat. If we don't all do it at a high level, something will float away.

 

--That's why you are able to produce shows with such a high level of perfection, isn't it?

 

MIKIKO I really think so.

 

--Thank you very much for all your valuable comments. Finally, do you have any expectations for Hanyu and what you would like him to achieve in the future?

 

MIKIKO As I have said in various interviews, as someone who has been in the entertainment industry, seen many things, and had the opportunity to create many things, I want to believe that there are things that Japan can be proud of. When I saw the production of "Gift," I saw the "door-opening moment" that the possibilities of figure skating, visuals, lighting, and music were further expanded, and the synergy of these elements would create a new world of entertainment that I had never seen before.

 

So I want more people to see his show, and I want the people who should see it to see more of it. I think it's a prerequisite to please Hanyu's fans, but I think it will also impress people who aren't interested in this kind of thing, and I think it will become something that can impress people from other industries in this world.

 

He's really practicing the hard stuff. Physically and mentally. We want to continue our efforts so that his potential is not crushed, and I hope we can do what we can to support him. That's a bit big, but I hope it will be good for Japan and the world.

 

[Wintek]

*Machine translation from Japanese to English. Inaccuracies exist*

 

Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 82-87
Info: https://www.yamakei.co.jp/products/2823907850.html

Quardruple Axel May 2024 Issue: [Talking about Yuzuru Hanyu] Shinya Kiyozuka

The one and only expressive artist

 

Shinya Kiyozuka, who performed the exhibition number “Come Spring, Come Spring” and the competition program “Introduction and Rondo Capriccioso,” is a close friend of Mr. Hanyu's. He was involved in the performance and arrangement of the music used in “RE_PRAY”. From the perspective of a musician active in a wide range of fields, we asked him to talk about Mr. Hanyu’s greatness as an expressive artist.

 

Interview and text by Tatsuya Murao 

 

–Mr. Kiyozuka participated in this Ice Story ``RE'' PRAY'' by playing the piano and arranging music. I hear that you have three new songs recorded, but what was the background behind the request?

 

Kiyozuka: The story behind this was that Mr. Hanyu told me, “I'd like to do a show like this.” When I received the call, Mr. Hanyu already had a blueprint in mind, or rather, he had a vision for what he wanted to do, and he made a very specific offer to create something with this arrangement. I accepted it and proceeded.

 

Spoiler

You re-performed the “Introduction and Rondo Capriccioso” in a long version, didn't you?

 

Kiyozuka: That’s right. I felt it wouldn't fit well to just add the newly recorded parts to the previous version. While I could have just extended it, considering it's Yuzuru's stage, I wanted to reflect not only what I was thinking and feeling at the time but also my feelings towards him, so I boldly decided to re-record the entire piece.

 

—It must have taken quite a while to replay and record it.

 

Kiyozuka: I knew we were short on time, so I had to do it quickly and within a limited time frame. In terms of our communication, since "Haru Yo, Koi" (from the 2018 Fantasy on Ice), I've come to understand Hanyu's feelings quite well, and during our conversations, I can also grasp what he's trying to convey without words. Moreover, as we've become longtime friends, our careers have progressed, and we've gradually come to understand each other more deeply.

It's similar to making a movie, but often, when we try to describe the shows or music we want to create in words, it falls short. Conversely...

– You are pulled by words.

 

Kiyozuka: Yes, exactly. They tend to distance us. In other words, when we try to describe something that doesn't yet exist and shouldn't be described, this contradictory behavior often has the opposite effect , and the more we talk about it, the more we explain it, the more we end up creating something different. Words are definitive, so they are powerless to describe something that has not yet been formed. Thus, it's crucial to grasp what's beneath the words, what's left unsaid. Compatibility certainly plays a role, but it's also essential how well we understand each other on a personal level.

 

Since "Haru Yo, Koi," we've shared various stages, created numerous performances together, and maintained communication. Meeting in person is challenging, but we often have lengthy conversations via video calls late into the night. Through such interactions, our bond has grown, and we've become more comfortable, deepening our understanding. We even referred to each other as "close friends." That is why we were able to proceed without wasting too much time this time. There was a lot of back and forth with “Haru Yo, Koi,” but this time, it was just one shot, and the long version of “Roncapu” went very well.

 

—-Mr. Hanyu was able to come up with a variety of ideas for the overall concept this time around, and was the concept itself easier to understand?

 

Kiyozuka: What Mr. Hanyu is trying to do is itself very philosophical, so there is a part of it that we should rather not understand. That's probably why I think of it as art rather than sport. I think everyone will feel the same way. Mr. Hanyu may have a clear answer, but he also often says, "the reason piano, classical music, and figure skating go so well together is because ultimately, they don't explicitly state things."

 

---Judgment lies with the viewers.

 

Kiyozuka: That's right. It's a very abstract and tentative expression, so I guess that's what he thought about the overall concept. I also thought that Mr. Hanyu had the freedom to say, “If the viewer takes it this way, that's fine.''

 

—Considering that you must imagine the overall concept yourself and adjust the new arrangements accordingly, there must be various challenging aspects, right?

 

Kiyozuka: That's right, but the overall concept was pretty much solidified in Mr. Hanyu's mind from the beginning. Or rather, I should say, the final program that I saw (at the show) was already there from the very beginning.

 

Hanyu also had a very clear understanding of the positioning of other programs and where my arrangements were needed. Because he conveyed that to me, I didn't have any doubts in that regard. Also, I think Hanyu's skill in conveying such things to others has improved tremendously, especially since he transitioned to being a professional. Probably since 'Haru yo, Koi,' he has been thinking a lot about how to communicate effectively and has made great efforts to expand his vocabulary and improve his speaking skills when communicating with others.

 

—-When you were arranging, did you ever hesitate to say, “This is a little bit ・・・・・・”?

 

Kiyozuka: No, there wasn't. Regarding the arrangements, I had an idea of "this is how it should be," so I simply progressed towards that. "Envoy to Destruction" [TN: Dark Messenger] had a band arrangement, so I had to handle other band instruments, play the bass myself with a synthesizer, and communicate with the guitarist about what kind of guitar to play. Since there were more parts compared to when it's just a piano, it took a bit more time in that sense. However, we rented a top-notch grand piano, the Yamaha CFX, and a top-notch studio, and hired first-class engineers, tuners, and musicians for the recording, so naturally, we could only record at that specific time and place. I explained to Hanyu that it was a situation of "no second chances," so everything had to be in order by then. It was a gamble, but I knew that in order to match Mr. Hanyu's production, we had to have people who could do top-notch work. I approached it with confidence, and ultimately, he was very pleased with the finished product.

 

---I think you must have enjoyed the once-in-a-lifetime experience, even though it was time-consuming and difficult.

 

Kiyozuka: Yes, it was thrilling. Also, “Envoy to Destruction” is based on a game (“Final Fantasy IX”), isn't it? Nobuo Uematsu is a world-renowned composer whom both Hanyu and I respect very much, and both of us love the game “Final Fantasy”. We both play the game and have debated about how we feel about it. Since we are both that passionate about the game, it is not something that I, as a game fan, want to tinker with as I please. After all, when people tamper with something you like, you think, “What?” So, just because it's Hanyu's production, it doesn't mean we want to drastically change the music. There must be respect for the game and Mr. Uematsu.

 

On the other hand, the most difficult part of game music is that it's constantly looping (repeating). There's no point where it ends here, so we had to add (new parts). Also, the length of time that Mr. Hanyu had in mind (for the program) had to be twice as long as the (original) song of “Envoy to Destruction.” As looping the same thing twice would leave the audience feeling unsatisfied, you have to figure out how to develop it without destroying the worldview. And since it is a performance after all, it has to build up (get excited) towards the end, So, half of the music had to be newly composed, so the band reproduced half of the original music as it was, and the other half was my own original composition. So, I wanted Mr. Uematsu and the fans of "Final Fantasy" to be satisfied with it. We wanted to make it exciting and fitting for this stage. Gathering all these elements was a very challenging task.

 

—What were your impressions after actually seeing the Yokohama performance? 

 

Kiyozuka: It's been a long time since I've had goosebumps. Also, after this was over, I said this directly to Mr. Hanyu, but I was really worried that he might collapse.  From the initial conception, I was more worried about Hanyu's health than my own music, and when he told me “I'm thinking of doing something like this,” I said, “You're just kidding, right?” I was like, "Can a human really do that?" First of all, it was a one-man show (a solo performance), which was a huge undertaking, but after all those performances, the “Envoy to Destruction” would come. I had concerns like, “Isn't that just a pipe dream?” and "Can one person's physical strength handle this?" So, witnessing him pull it off felt like seeing a moment where someone does something beyond human capability. It felt divine, but at the same time, I felt concern as a close friend, wondering, "Is he okay? Is he collapsing backstage?" However, in the Final Fantasy IX series, there is a line that goes, “Do you need a reason to help someone?” Mr. Hanyu quoted that and answered me. I thought it was really cool.

 

I think the theme of "Pray," which signifies Hanyu's deep soulful "prayer," was present in this performance. It's not like the passion of Christ, but I later thought maybe there was a feeling of "I must sacrifice this much" within him.

 

―Moreover, unlike a one-night-only show like "Gift," where burning out might be acceptable, for a tour, burning out is not an option.

Kiyozuka: Yes, really. I've always thought that the way he thinks is different from other people, but after coming here, I realized that he is different from other people in terms of what he can do and the potential of his body.

—I feel like he is evolving more and more by doing solo performances like “Prologue” and “Gift.” 

 

Kiyozuka: That's right. I think Hanyu perceives the limits of what he can do at each moment from an aesthetic point of view. No matter how much he pushes himself, there might be physical limitations or other factors to consider 10 years down the line. Therefore, I think he is trying to express himself to the maximum extent he can now.

 

—Since transitioning to pro, he's been running non-stop, so maybe he doesn't need to rush so much.

 

Kiyozuka: I've mentioned that to him several times during video calls, but he always just laughs it off. But he always passes it off with an “eh heh heh heh” kind of laugh. But for some reason, the way he laughs, saying, "Ehehehe," gives him the kind of expression you see in movies and games, like “the protagonist knows he can't come back.” Because discussing those fundamental matters might cheapen them [TN: avoiding making something important seem insignificant by talking about it too casually],  he doesn't verbalize them much, even in our conversations, deliberately I think. He's very articulate about his feelings towards his performances, but when it comes to worries or deeper emotional matters, he's the type to keep it to himself. I'm not sure if it's out of embarrassment or what. So, that's another aspect where I feel compelled to support him. It's pretty cool, isn't it?

 

—Do you have any plans for future collaborations with Mr. Hanyu?

 

Kiyozuka: There are many, but in terms of classics, for example, there's Debussy's “Moonlight.” I also want to try more upbeat, rhythmic songs. Then there are songs like “Haru Yo, koi” and “Rondo Capriccioso,” which are original songs but have been arranged for Mr. Hanyu to give them a new look. In this way, I want to create a repertoire of masterpieces that have new expressions because of Mr. Hanyu's efforts.

 

Also, I would like to do an original piece, although this may be something that Hanyu is thinking of doing next. Songs created specifically for Hanyu. Because Hanyu-san has strong philosophical and emotional sentiments, and he always clearly expresses them, I hope he performs songs based on them. I mean, 'I turned that into a song,' sort of thing.

 

—Mr. Kiyozuka imagines what Mr. Hanyu is thinking, and the two of you create a program.

 

Kiyozuka: That's right. Building it together bit by bit, it would be great if we could eventually create an original piece, even just one song. It's perfect, isn't it? A figure skater having their own music. It's something only Yuzuru Hanyu, who has his own philosophy and story, can do.

But having technical skills or popularity alone doesn't suffice. If you have a piece of music just for the sake of it, it becomes cheap. It just becomes a tagline or mere publicity. But in his case, it resonates deeply.

—Have you ever had a conversation like that with Mr. Hanyu?

 

Kiyozuka: Just a passing mention. As one of my dreams, it's been mentioned in casual conversation.

 

—What did Mr. Hanyu say at that time?

 

Kiyozuka: He was very serious and seemed to be saying, “I would have liked to have talked about this myself.”

 

(*Up to here from the joint interview. Below, from the solo interview.)

 

—You first collaborated with Mr. Hanyu on Fantasy on Ice in 2018, what was the impact on you at that time?

 

Kiyozuka: I was surprised to see that a figure skater could understand and play along with the music so well. I don't remember how many times we performed in total, but during the tour, the performance time differed by about a minute between the fastest tempo and the slowest tempo. The fact that he could enjoy such variations was what struck me the most.

 

—I think it's quite a change for the length of a song to change by almost one minute. -Did you have a discussion like, “Let's take it a little slower today?'' Or is it just a mutual atmosphere?

 

Kiyozuka: It wasn't through discussions. Sometimes, the atmosphere of the moment dictated the tempo. Also, being human myself, even if I intended to play the same way each time, there were moments when the tempo would speed up slightly, or I may become more emotional at the chorus part and go forward, or the opposite may also happen.

 

For example, suppose there is a long note in a song that has a lingering effect. If you use that note longer than usual, that part of the song will be extended. If you do that, he will perform accordingly. That is the amazing part.

 

Specifically, I felt that the sound of "Jaan!" at the end of "Spring, Come On" expressed something like the sadness and transience of falling flower petals, and at the end I took my hands off the keyboard. I couldn't let go. There was a lingering sound from the ice rink, and I played a really long note, and he added movement to all the notes. I haven't had any such meetings. Even in the demo performance, I didn't play it for that long. That's why I thought it was amazing. This is something that first-class musicians do. I said, “My partner is still playing. Okay, let's try something.” I think this is a musician's skill. Even though the song had already finished and there was probably applause, he didn't stop acting and kept adding his movements little by little. I was really surprised that there was such a range of frequencies as a musician.

 

—When Mr. Hanyu appeared as a guest on Kiyotsuka's music program, he said, “I don't play to the music but to the performance. That is exactly what he meant.

 

Kiyozuka: Exactly. If you were to play according to the song, the performance might end up being like, "This is how it should end here." But in his case, it's his unique sense to respond to what the performer is doing each time. It's not something you can prepare for, and I truly believe that it's a skill that one cannot possess without genuine talent.

 

—In that program, he mentioned that in his competitive program, "If he matched the music, he lacked enough rotations in his spins." From the perspective of emphasizing musical expression, is this dilemma something that arises?

 

Yes, it must be a dilemma when the sound and the performance do not match perfectly. However, in competitions, there is an item “interpretation of music” in the performance component score, isn't there? When he performed "Roncapu," he achieved remarkable scores, but I think he was also evaluated for his understanding of the music in that piece. On the other hand, I also wonder how they determine the interpretation of the music. Personally, I think it would be better if one of the judges was a musician. I think it would be better (laughs).

 

–When Yuzuru turned pro, it was impressive to hear him say, "I finally became a pro." It seems like he had always wanted to do it as a pro, and maybe he had too much to express.

 

Kiyozuka: That's right. I mentioned it to him directly as well, but towards the latter part of his competitive career, I felt like I was watching him become somewhat constrained. In the latter part, it felt like what he wanted to do as a performer was already extending beyond the realm of competition. Competitions require performing within the constraints of technique and time, and there's also the pressure to score points. I felt like maybe the dimension he wanted to explore was no longer within that realm. Also, the sport has become very focused on jumps. I've been feeling that trend becoming stronger in figure skating overall in recent years. I still believe that figure skating is not just about jumping.

 

— That’s right

 

Kiyozuka: That's why I think it's an amazing accomplishment that Hanyu has now turned to pro and is showing us figure skating as a comprehensive art form.

 

—I am not sure if this is a correct analogy, but in the world of classical music, musicians sometimes enter competitions and aim for the top ranks. After that, they give recitals as professionals or spread their wings into new worlds. I wondered if there was a similarity between this and Mr. Hanyu's transition to Pro. He has been refining his skills in the world of competition, and now he is going to step out from there and sublimate them into the realm of entertainment and art.

 

Kiyozuka: That’s right, I have had that experience myself, so I think it is sort of the same thing. But I think the world tends to change more in figure skating. I think we can continue to do that. However, winning first place in a competition does not necessarily mean that you will be popular or that you will be able to do something interesting. It is not enough to play the same performance in concert as in the competition. For the first one or two years, it is worthwhile to play the same performance as in the competition, because you can hear the performance of the first prize winner. However, the next first prize will come along, and you can't just keep doing the same thing forever. I think you have to have a philosophy of “what you want to express as a musician,” and there are so many artists who get stuck at that point. “What do you want to express as a musician” is a very difficult question, and it clearly distinguishes those who have it from those who don't. In that sense, Hanyu probably has too much philosophy. So, the framework of competitions became too small. As I mentioned earlier, when we were creating 'Roncapu,' I really felt that constraint. In a roughly three-minute short program, you can expect when the spins and jumps will come, right? So, I imagined what kind of movement would happen at the spin part and added arrangements accordingly. But Hanyu felt very constrained within those expectations. He seemed to sense that I was feeling something, too (laughs). Recently, we've often talked about this topic in our conversations, and it seems that Hanyu also had such feelings. It's amazing, isn't it, the unique, peculiar problems of a person who thinks differently from those around him? It's like the size (of what he is thinking about) doesn't match anymore." 

 

—I think Mr. Kiyozuka also feels a lot of sympathy in that respect.

 

Kiyozuka: Yes, I truly do. Moreover, with such people, what they value the most is actually the orthodox aspects of technique. Bando Tamasaburo often says, "Being 'form-breaking' is different from being 'without form'," (*) which means you mustn't become formless. Only those who have form can break it. Therefore, you must continue to maintain form. People who want to do something new tend to become aware of the value of that "form." I think he values that aspect. Perhaps, he values the fundamental methods more now than during his active years. Even when watching "RE_PRAY" now, I get that sense. It's not just about doing things freely; it's about realizing those values anew because he has something he wants to do.

 

(*) 「『型破り」と「型 なし」は違う」: “There is a difference between ‘kata-breaking’ and 'kata-less’”, it suggests departing from conventional methods or styles while still maintaining respect for the traditional techniques or forms. 

Bando Tamasaburo is considered one of the greatest Kabuki actors of modern times.

 

–He has a solid technique and skates as one with the music, as if he were actually playing the music. Where does that kind of acting come from?

 

Kiyozuka: I'm sure that's a very concentrated listening experience. Listening, listening. I think he is in a state where he can listen to the sound of the piece better than I can play it. I think he is listening to the music while concentrating to the point of exhaustion, because he has such a great power of concentration. He is not just listening to the music, but analyzing it. This is something that cannot be done without ability, but even more than that, it cannot be done without spirit. It really feels like he is dedicating himself wholeheartedly.

 

—When collaborating with live music, there's a sense that when the music is so perfectly integrated, it must be very satisfying for the performer, Mr. Kiyozuka, as well.

Kiyozuka: Yes, it's not so much satisfying as it is like being in a duel. It's a feeling of, "I've listened this far." It's incredibly stoic. It's like asking, "How much soul did you put into this sound? Does it match my performance?" That's one way to perceive it, although of course, the person himself wouldn't say such things. So, if we don't have that level of commitment, we can't face such an opponent.

—Everyone who works with Mr. Hanyu says so.

 

Kiyozuka: That's right. It's because he doesn't just say it, he actually does it. It makes me think, “I've come that far…” It makes me ask myself, “Am I a good match for him?” A place that makes you feel nervous.

 

—Are there many people like that?

 

Kiyozuka: Not very many. Especially nowadays, people are more relaxed in their work. In that respect, the classical music world is also very stoic, so working with him is very rewarding and stimulating for me.

 

—I'm sure there are various difficulties in deciding when collaborating at a live performance, but how did you go about adjusting to that?

 

It involves scrutinizing each other's capabilities, distinguishing “I can't do that” from “I can do that”. However, we don't have much time, and amidst successive performances, he's exceptionally skilled at debating which points to address. He must be very clever. He's incredibly well-versed in performing live, swiftly identifying the key points that must be addressed. Conversely, once those points are identified, he absolutely doesn't budge, doesn't compromise. That's Hanyu's style. He has things he wants to accomplish, and regarding those, the means to achieve them, what he must do, is just hard work. It's not like he's bringing anything particularly radical. I believe it's about expressing his musicality, goals, and philosophy. For that expression, compromise is not an option, which is a rule for any artist. Hanyu serves as a reminder of that rule.

 

—Thank you for the valuable talk. Lastly, please give some words of encouragement to Mr. Hanyu.

 

Kiyozuka: Until now, I had worried about “RE_PRAY,” wondering “is it safe to do such a thing?,” while at the same time supporting the project. But you have already prepared for it, and you have devoted yourself to it to the extent that I think it is rude to be worried about it. I could feel his strength, “This is the only way for me.” Furthermore, rather than worry, under the resolve of “following him wherever he goes,” I hope to continue supporting him, standing by his side, fighting alongside him when necessary.

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 82-87

Info: https://x.com/AxelQuadruple/status/1790025373582860575

 

Quardruple Axel May 2024 Issue: Shinya Kiyozuka – A One-of-a-Kind Performer

 

Shinya Kiyozuka, who performed the exhibition number "Haru yo, Koi" and the competition program "Introduction and Rondo Capriccioso," is a close friend of Hanyu's. He was involved in the performance and arrangement of the music used in "RE_PRAY". From the perspective of a musician active in a wide range of fields, we asked him to talk about Hanyu's greatness as an expressive artist - Interview and text by Tatsuya Murao

 

Spoiler

Q: Kiyozuka participated in this Ice Story "RE_PRAY" by playing piano and arranging music. I heard that three songs were newly recorded, but how did you get the request?

A: It was because Hanyu-san said, "I'm going to do this kind of show (so I'd like you to do it)." By the time he contacted me, he already had a blueprint in mind, or rather, a plan of "I want to do something like this", and he gave me a fairly specific request to create an arrangement like this, so I went ahead with it.

Q: "Introduction and Rondo Capriccioso" was re-performed in a longer version, right?
A: Yes, that's right. I thought it would be weird to just combine the previous part (with the new recording). I could have just extended it, but it was Hanyu's performance, and I wanted to reflect what I was thinking and feeling, and how I feel about him, so I went ahead and re-recorded it all.

Q: It must have taken quite a long time to re-perform and record it, didn't it?

A: We were indeed pressed for time, so we had to complete everything quickly and precisely within the limited timeframe. Since we started collaborating on "Haru yo, koi," (in Fantasy on Ice 2018) I’ve become very attuned to Hanyu’s thoughts and understand more clearly what he wants to convey during our conversations. Additionally, as good friends, our professional collaboration has become more enduring, and our mutual understanding has deepened. It's similar to making a movie, but often, when we try to describe the shows or music we want to create in words, it falls short. Conversely...

Q: You get pulled in by the words.
A: Exactly. It gradually deviates. When people try to describe something that doesn’t exist yet and can’t be described, this back-and-forth struggle can have the opposite effect—the more you try to explain, the more likely you are to produce something incorrect. Language is inherently judgmental and inadequate for expressing things that don’t exist. In the end, it’s about understanding what the other person actually wants to say and considering what lies behind their words. This is very important. In this regard, it’s about fate and how well two people can understand each other, which is crucial.

After all, we’ve been through many stages together since "Haru yo, Koi" and have produced numerous programs together. Communication is key; although meeting in person is very difficult, we often have long video calls late into the night. These interactions have enhanced our communication, made our interactions less constrained, and deepened our mutual understanding. He even described me as a “good friend”. So, this time, we didn’t spend any extra time on the work. When we worked on “Haru yo, Koi," we spent a lot of effort, but this time, we quickly completed the extended version of the Rondo.

 

Q:  This time too, Hanyu thought a lot about the overall concept. Did you find the concept itself easier to understand?
A: Since what Hanyu wants to achieve is inherently very philosophical, it could be said that there are aspects that shouldn’t be completely understood. I think this is why what he does feels more like art than sports. Even though Hanyu-san may have a clear answer in his mind, he often says that “the reason why piano performances and classical music fit well with figure skating is that they ultimately don’t state things explicitly.”

Q: It’s up to the viewers to judge.
A: Yes. It's a very abstract and spontaneous expression, so I think the overall concept is like that. And I think Hanyu has that freedom of thinking, "It's fine if the audience takes it this way."

Q: Considering that you imagined the overall concept yourself and had to adjust the new arrangements to fit in, it must have been difficult to think about various things, right?
A: Yes, but Hanyu-san had pretty much solidified the overall concept from the beginning. Almost everything, or rather, all the plots for the performances that I eventually saw (in the show) were there from the beginning. For the other programs as well, Hanyu-san had a very clear idea of how my arrangements would fit in. Because he communicated this to me, I had no doubts about it. Also, with his transition to a professional career and everything, I think Hanyu's skill in conveying these concepts to others has greatly improved. Compared to when we worked on "Haru yo, koi" he has likely put a lot of thought into how to communicate with others, and, knowing him, he has worked incredibly hard to expand his vocabulary and improve his communication skills.

Q: While arranging, were there any moments of hesitation like, "This part should be a bit..."?
A: No. For the most part, I had an idea that it "should be done like this" so I just pushed forward towards that. "Messenger of Ruin" was a band arrangement, so I incorporated the sounds of other bands, played the bass on a synthesizer myself, and told the guitarist what kind of guitar playing I wanted him to do. With more parts compared to just using a piano, it took a bit more time in that regard. But, yes, we rented a top-class grand piano, a Yamaha CFX, used a top-class studio, and we called in top-class engineers, tuners, and musicians to record, so of course we could only record locally on that day and at that time. I also explained to Hanyu-san that we were approaching this as a "one-time-only" situation. So, it had to be finalized by that point. It was a gamble, but I believed that only top professionals could match the level required for Hanyu’s stage. I approached it with confidence, and in the end, he was very pleased with the final piece.

Q: I think you must have enjoyed the once-in-a-lifetime experience, even though it was time-consuming and difficult.

A: Yes, there is a thrill to it. Also, as for "Messenger of Ruin," it is based on the game "Final Fantasy." Nobuo Uematsu is a world-famous composer whom both Hanyu and I respect. Both Hanyu and I love the game "Final Fantasy." We both play it, and we debate what we think about it. That's how passionate we are about it, so even as a game fan, I don't want to just mess with the song as I please. After all, if someone messes with something you like, you’ll think, "What the heck?" So I don't want to change the song completely just because it's Hanyu's stage. After all, there has to be respect for the game and for Uematsu.

On the other hand, the most difficult part of game music is that it is always looping (repeating). There is no “end” point, so you have to add new parts.  Also, the length of the program that Hanyu-san had in mind had to be twice as long as the original “Messenger of Ruin”. Looping the same thing twice would have left the audience unsatisfied, so how do you develop it without destroying the worldview? And since it’s a performance, it has to build up towards the end. So, half of the music was reproduced with the band as it was in the original, and the other half was my own creation. So, I hope that Uematsu-san will be satisfied with that, and I hope that “Final Fantasy” fans will be satisfied with it too. I wanted to create something exciting that would suit this stage. It was very difficult to gather all of these elements.

 
Q: What were your impressions after seeing the Yokohama performance?
A: It's been a long time since I've had goosebumps. Also, after this was over, I told Hanyu-san directly that I was really worried he might collapse. From the initial planning stage, I was more worried about him than about my music, and when he said, "I'm thinking of doing something like this," I said, "You've got to be kidding me." "Can you really do that? A human being?" First of all, he's trying to do something difficult just by doing a one-man (solo show), and then after all those performances, this "Messenger of Ruin" comes. I was worried, like, "Isn't that just a dream?" or "Can one person do that with their physical strength?" So, when he managed to do it, I felt a sense of divinity, like I was witnessing a moment when a person really did something beyond human strength, and at the same time, I felt a sense of fear as a close friend, like, "Are you okay?" or "Has he collapsed backstage?" But in "Final Fantasy," there's a line that says, "Do you need a reason to help someone?" Hanyu-san quoted that line in response to me. I thought that was really cool. This time, the theme was "Pray = Prayer," and I think Hanyu’s own “prayer” from the depths of his soul was also reflected in the theme. It's not like the Passion of Christ, but I thought later that maybe there was a feeling that "I have to give this much of myself" within him.

Q: Moreover, if it were a one-night show like "Gift," it might be okay to burn out, but since it was a tour, he couldn’t afford to burn out.

A: Yes, that's true. I've always thought that the things he thinks are different from other people, but coming here has made me realise that he's different from other people in terms of what he can do and his physical potential.

 

Q: He has also performed solo shows like "Prologue" and "Gift", and I think he’s constantly evolving.

A: That's right. I also thought that Hanyu approaches each moment by embracing the limits of what can be achieved as part of his aesthetic. After all, even with Hanyu’s abilities, there may be physical limitations and various other issues that could affect what he can do 10 years from now. So, I think he is doing the best he can in the moment.

Q: Hanyu has been running non-stop since he turned professional, so I feel like it’s okay not to be in such a hurry.

A: I always mention that on video calls, but he always just laughs, like, "Hehehe." But, you know, the way he laughs, "Hehehe," makes me feel like the protagonist from a movie or game who knows they can never return. Maybe it's because he thinks it would sound trivial, but he doesn't really verbalize those kind of core matters in our conversations, intentionally. While he passionately talks about his thoughts on his performances, he tends to avoid putting concerns or heartfelt feelings into words. I’m not sure if he’s embarrassed or something else, but that aspect makes me want to support him even more. It’s quite cool.

Q: Do you have any ideas for songs you would like to collaborate with Hanyu in the future?

A: There are many, but for example, in classical music, Debussy's "Clair de Lune". I’d also like to try some more upbeat and rhythmic songs. Additionally, pieces like "Haru yo, Koi" and "Rondo Capriccioso," which have original versions but have been arranged to give them a new expression specifically for Hanyu-san. Through this process, I hope to create new interpretations of classic masterpieces as part of the repertoire that only Hanyu can bring to life. Also, this may be something Hanyu-san is thinking of doing next, but I would really like to do an original piece. A piece made just for Hanyu-san. Hanyu-san has strong philosophical and emotional sentiments, and he always has them clearly in his mind, so I would like him to perform with the idea that "I turned those into a song."

Q: Kiyozuka imagines what Hanyu is thinking, and the two of you create a program together.

A: Yes, that's right. It would be wonderful if we could gradually create something together and eventually produce an original piece. It's perfect, isn't it, for a figure skater like that to have a song. After all, only Yuzuru Hanyu, who has his own philosophy and story, can do it. Just having skill or popularity alone doesn't suffice. If you have a piece of music just for the sake of it, it becomes cheap. It would just be a gimmick or a marketing tool. But in his case, it makes sense.

Q: Have you ever had such conversations with Hanyu?

A: Just a little. It's been mentioned in our casual conversation as one of my dreams.

 

Q: What did Hanyu say at that time?

A: He was very serious and said, "Actually I would have liked to have talked about it myself."

 

(※Up to this point, we conducted a joint interview. The following is from individual interview)

 

Q: I believe your first encounter with Hanyu was in 2018 when you collaborated on Fantasy on Ice. What was the biggest shock to you at that time?
A: I was really impressed that a figure skater could understand music so well and adapt to it so well. I don't remember how many times we did it in total, but during the tour, the performance time differed by about one minute between the fastest tempo and the slowest tempo. I was really shocked by how much he enjoyed and embraced such variation.

Q: I think it's quite a big deal to change the length of a song by almost a minute, but did you have any meetings like, "Let's take it a little slower today"? Or was it just based on a mutual feeling?
A: It wasn’t something discussed in advance. Sometimes it happened based on the atmosphere of the moment. Since I’m human too, even if I intend to play the same way every time, there might be slight variations in tempo, or I might become more passionate during the chorus and play more intensely, or vice versa.

 

For example, if there’s a long note in the music meant to create a lingering effect, and I hold that note longer than usual, the length of that part extends. In response, the performance adjusts accordingly. That’s what’s remarkable. Specifically, at the end of ‘Haru yo, Koi,' the final 'Jaaan!' note expressed something like the scattering of petals, a sense of poignancy and transience, and I couldn't take my hands off the keyboard at the end. There was a lingering sound on the ice rink, and when I played the long 'Jaaan,' he added movement to that entire sound. We hadn’t discussed this in advance. Even in the demo performance, I didn’t play it that long. So I thought, 'That’s amazing.' It’s something a top-tier artist would do. It’s as if he thought, 'The other person is still playing. Great, let me add something here.' I think this is a musical skill. Even though the piece was over and applause had probably started, he kept adding subtle movements without stopping the performance. I was truly amazed by the level of musical sensitivity he had.

 

Q: When Hanyu appeared as a guest on Kiyozuka's music show, he said, " I adjust to the performance, not the song" That's exactly what it means.

A: That's exactly right. If you're performing according to the music, you'll probably end up with a pre-determined performance that says, "This is how it should end here." But in his case, he responds to what the performer is doing each time, which is a unique sense that he has. It's not something you can prepare for in advance, and I believe it requires a genuine skill to achieve.

Q: In that program, he mentioned that in his competition program, "When I tried to match my spins to the music, the number of rotations was not enough." Is this a dilemma you feel from the perspective of placing importance on musical expression?

A: Yes, there’s definitely a dilemma when the music and the performance don’t align perfectly. However, in competitions, there’s a component in the artistic program score called 'musical interpretation.' For example, during 'Roncapu' he scored incredibly high, and I think his understanding of the music was likely a factor in that. On the other hand, I wonder how musical interpretation is actually judged. Personally, I think it would be better to have a musician among the judges (laughs).

Q: When Hanyu turned professional, he said, "I finally became a professional." It seemed like he had always wanted to do it as a pro, and maybe he had too much to express.

A: Yes, I have mentioned this to him directly, but I felt that towards the latter half of his competitive career, he was feeling somewhat restricted. It felt like what he wanted to do was extending beyond the scope of competition. In competitions, you have to perform within the constraints of technique and time, and you have to score points. I felt that the dimension he wanted to explore was no longer fitting within that framework.

Additionally, there is a growing focus on jumps in the sport. I’ve felt in recent years that this trend has become stronger in figure skating overall. However, I believe figure skating is not just about jumping.

Q: That’s true.

A: That's why I think it's amazing that Hanyu has turned professional and is now showing figure skating as a comprehensive art form.

 

Q: I’m not sure if this analogy is entirely accurate, but in the world of classical music, musicians often compete in competitions aiming for top positions. Then, they go on to hold recitals as professionals and venture into new realms. I wonder if Hanyu’s transition to professional skating reflects something similar. He honed his skills in the competitive world and is now expanding into the realms of entertainment and art.

A: Yes, I’ve had similar experiences myself, so I think this is something in common. But I believe that figure skating tends to bring about more significant changes in its world. I think we have the potential to continue in a similar vein. However, just because you win first place in a competition doesn’t necessarily mean you’ll become popular or that you’ll be able to do interesting things. The performance from a competition isn’t always suitable for a concert setting. For the first year or two, there’s value in hearing the 'first-place performance' from a competition. However, new winners will emerge, and you can’t keep doing the same thing forever. I believe there needs to be a philosophy of 'what you want to express as a musician' behind it. Many artists reach an impasse in this regard. Determining what you want to express as a musician is a very challenging issue, and there is a clear divide between those who have it and those who do not.

 

In that respect, Hanyu-san seems to have almost too much philosophy. The competitive framework was just too small for him. As I mentioned earlier, when we were creating 'Roncapu,' I felt that constraint very strongly. In a short program of about 3 minutes, you can usually predict when the spins and jumps will occur. So, I planned arrangements based on the assumption of how the spins and jumps would fit. However, within those assumptions, Hanyu-san felt extremely constrained. I had a sense of this, and it seems he was aware that I was feeling that way (laughs). Recently, our conversations often touch on this topic, and it seems that Hanyu-san was in a similar mindset. It’s amazing how someone with such a unique perspective experiences their own particular struggles. It's as if the size (of what he thinks) doesn't fit anymore.

Q: I’m sure Kiyozuka feels a great deal of sympathy for that too.

A: Yes, I really feel that way. Moreover, for those people, what they value most is rather the conventional aspects of technique. Bando Tamasaburo often says, "Breaking the form (being unconventional) is different from having no form," and what he means is that you must not fall into "having no form." Only those who have a form can break it. That's why he says you have to hold on to the form. After all, the more someone wants to "do something new," the more they will come to realise the value of that "form." I think he values that aspect. Perhaps he values the basic method more than he did when he was still comnpeting. I feel that way when I watch "RE_PRAY" now. It’s not just about being free; it’s because he has something he wants to express that he has come to recognise the value of these things anew.

Q: He has solid technique and skates as if he is one with the music, as if he were actually playing the music. Where does that kind of performance come from?
A: It must involve an incredibly intense level of listening and focus. I think he is in a state where he can listen to the sound of the piece better than I can play it. Given his already exceptional concentration, I think he listens with such intense focus that it might even be exhausting for him. He’s not just passively listening; he’s analysing the music. This isn’t something that can be achieved without ability, but more importantly, it’s not something that can be done without passion. It really feels like he is devoting himself wholeheartedly.

Q: When collaborating live, if he can fit the music so perfectly, I'm sure Kiyozuka also gets really into it and feels great while performing.
A: Well, rather than feeling enjoyable, it’s more like a challenge. "I've listened to this far," he would say in a very stoic manner, which can also be taken as a way of saying, "How much soul did you put into this sound?" and "Does it match my performance?" Of course, he himself wouldn’t say such things. So, if I don’t have a similar level of commitment, I can’t match him as a counterpart.

 

Q: Everyone who works with Hanyu says the same thing.

A: That's because he doesn't just say it, he actually does it. It makes you think, "He's going to that extent..." It makes you question, "Am I a good match for him?" There are some aspects that make you nervous.

Q: Is it hard to find someone like that?
A: People like that are quite rare. Especially these days, when the emphasis is on working with a sense of balance and ease. In that regard, the classical world also has a very stoic side, so working with him is incredibly rewarding and stimulating for me.

Q: I imagine there were many difficulties, such as the rules for collaborating at a live show, but how did you go about aligning those aspects?

A: When it comes to collaborating, we examine what’s feasible and what’s not based on each other’s skills. However, we don’t always have unlimited time, and with performances coming one after another, his ability to pinpoint what needs to be discussed is exceptional. He’s incredibly sharp and highly knowledgeable about performing live. He quickly identifies the crucial points that need to be addressed. Once those points are determined, he stands firm and doesn’t compromise. That’s his style. Hanyu-san has specific goals he wants to achieve, and the challenging part is the work required to implement those goals as means. It’s not about bringing something particularly radical. It’s about expressing his musicality, goals, and philosophy. To convey that, there can be no compromise; it’s a fundamental principle for any performer. Hanyu-san reminds us of this principle time and again.

Q: Thank you for sharing your valuable story. Lastly, please give some words of encouragement to Hanyu.

A: Until now, I've supported "RE PRAY" but also worried about whether it's okay for him to do something like that, but Hanyu-san has made up his mind, and has dedicated himself to it to the point that I feel it would be rude to even worry about him. I also felt the strength of his belief that "this is all I have." And rather than worrying, I'm determined to "follow him wherever he goes," and I hope that I can continue to support him, encourage him, and sometimes even fight alongside him.

 

[Wintek]

*Machine translation from Japanese to English. Inaccuracies exist*

 

Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 88-91
Info: https://www.yamakei.co.jp/products/2823907850.html

Quardruple Axel May 2024 Issue: [Talking about Yuzuru Hanyu] Taketoshi Hara
A Extremely Personal Consideration(1) of RE_PRAY

 

Text by Tatsuya Murao 

Interview and text by Tatsuya Murao (this magazine) 
 

A look at "RE_PRAY" from Mr. Hara's point of view. Costume designer Makoto Hara has a close relationship(2) with Yuzuru Hanyu. Mr. Hara has a background as a professional guitarist and has a deep knowledge of music and games. A very personal look at "RE PRAY

(1) 考察 (kōsatsu): consideration; inquiry; enquiry; investigation; study

(2) 親交/shinkō friendship or close relationship, different to 友達/ tomodashi, which is a more general term for friendship. Here, shinkō is used in a more formal and professional context, it underscores a significant and meaningful connection, likely highlighting respect and a long-term association.

 

— What did you think of "RE_PRAY" when you saw it? 

 

Hara: First of all, I thought it matured as entertainment, and the level of perfection was extremely high. I also thought it was very interesting that the content was a metaphorical representation of video games. There are many different types of games, but this show focuses on the world of role-playing games, especially J-RPGs. I could see a great link between Mr. Hanyu's own childhood, his active career, and the process of RPGs up to the present day. In particular, the song "MEGALOVANIA" that Mr. Hanyu played in the show is from the game "Undertale," and I felt that this song was one of the hooks in the show. “Undertale" is a game created almost single-handedly by charismatic game creator Toby Fox, and although it was released in 2015, it was influenced by Japanese RPGs of the 90s and 2000s, with a graphic style that looks very old-fashioned. It's a story-driven game that breaks the rules of traditional RPGs, and people who played it at the time were shocked.

 

Spoiler

—What makes it unique? 

 

Hara:  It contains elements that are the antithesis of existing RPGs, such as being able to complete the game without defeating anyone. Specifically, the game can be cleared without defeating anyone until the end, and it questions the very concept of the "hero" in RPGs.

 

—How do you not defeat your enemies? 

 

Hara: The protagonist has the discretion to make peace through conversation or to let the enemy go. Because of this, the ending you reach by defeating everyone is different from the ending you reach by not defeating anyone. In other words, "Undertale" itself questions the concept of RPG itself, "advancing by defeating enemies." In the game, it is said that "even the monsters have feelings," and "what process does the boss of the enemy go through to become a boss?". It is interesting that you can choose to exterminate them, make peace through conversation, or let them go.

 

—In "RE_PRAY" there is the line, "You decide for yourself.”

 

Hara: Yes, there was. I feel like there are a lot of similarities in that respect.

 

—"Megalovania" is a song used in the game "Undertale," but how did it come about?

 

Hara: Toby, the creator of "Undertale," is from the U.S. He is a Japanese RPG (JRPG) fanatic, and he was greatly influenced by "Final Fantasy," "Mother," and other titles from the 90s and 2000s. Toby was inspired by the game "Live Alive," which was released in the same year as "Final Fantasy" and "Mother.” “Live Alive" is another legendary game that is still wildly popular today. This game also had some tricks that went against the common sense of JRPG at that time. In that sense, "Undertale" has many things in common with "Live Alive," and the song "Megalomania" is commonly played when defeating the bosses in this work. Mr. Toby created a song called "Megalovania" in homage to that "Megalomania.” The titles are already linked, aren't they?

 

—This is quite a core story. I was surprised to learn that the music is based on game music from 30 years ago.

 

Hara: In the late 80s and early 90s, graphics were not as advanced as they are today, and music was expressed with a limited number of notes. For example, the NES had 3 chords and the Super NES had 16 chords. At that time, games did not yet have civil rights, and game music composers were not yet recognized as musicians. Even Koichi Sugiyama, the composer of "Dragon Quest," was told by fellow musicians at the time, "If you go to a world where you can only create electronic sounds with such a small number of notes, you are finished as a musician.” JRPG in its early days was filled with such a rebellious spirit and spirit of the voice. No matter how few notes there were, there was always something that could be done. In fact, it is precisely because the number of notes is so small and the sound is so delicate that it is necessary to create melodies that leave a greater impression than anyone else's. In this sense, JRPG is a true work of art as a composer. In this sense, the true value of a composer is put to the test. That's why there is something about this game that hasn't faded away. Nowadays, games themselves are produced with budgets comparable to Hollywood movies, and the quality of the music and visuals is on par with that of movies. I think this process is very much in sync with the path that Mr. Hanyu has taken. I also felt that the theme of the show itself was to express his life in a meta (metaphorical) way, so I thought it was very much in line with that.

 

—This is the spirit that Mr. Hanyu had when he was a competitor.

 

Hara: He declared to himself at the age of four “I will win an Olympic gold medal in men's singles,” and told those around him about it. He never gave up and continued to work hard towards that goal. He had the determination to "make it happen." Furthermore, when he said he would win two gold medals, I think there were probably voices saying, "You've already been a gold medalist once, so isn't that enough?" But he pushed forward, saying, "No, I'm going to do something that no one else has done before." I feel like those processes are in sync. That's right. In other words, "RE_PRAY" is not simply about the theme of games that Hanyu likes, but is also an encounter between an athlete and game creators who probably had similar backgrounds.

 

—I see. So that's one way of looking at it. As for the structure of the show, the six-minute practice session for the competition was incorporated into the production.

 

Hara: Yes, it is. I felt this was also well thought out. In games, there is often a situation where the player must escape within a specified time or the game is over. I felt that this image synchronizes with the six-minute practice time given before a performance in the competitive world.

 

—Six minutes were counting down on the screen.

 

Hara: The performance begins after the countdown, but without this stage setting and visuals, it's the same as practicing before the performance and then going on stage. However, replacing it with something completely different is a new expression. There is a platform on the side of the rink, the usual drinks are placed there, and there is Winnie the Pooh. Hanyu links in, quietly circles around, checks each element, drinks a drink, and in some cases blows his nose, all the same. However, in "RE_PRAY" it is replaced with a different stage setting. This makes it seem like "If it were in a game, there would be a situation like that." When I felt that, I really thought, "I see.”

 

—From there, it leads to "Envoy to Destruction.”

 

Hara: That's right. The "Envoy to Destruction" is a song from "Final Fantasy IX," and I thought that the most core part of the show was the transition from "Megalovania" to "Envoy to Destruction.”

 

—It is the climax of the first part.

 

Hara: The show was centered on the world of games, and the music selection for the program was also arranged with game music in the middle, sandwiched between other programs. In other words, I got the nuanced impression that as the show progressed, the audience would dive deeper into the two-dimensional world, and then gradually return to the real world in the second half of the show. I got the impression that the game world, and real life were in sync with each other.

 

—It feels like a combination of many different elements.

 

Hara: The reason why this show was special is because everyone knows the process of Hanyu's competitive days, his "adventure" as an athlete. That is absolutely unshakable, isn't it? After all, it is because of the magnitude of what he accomplished as a result of overcoming setbacks, and suffering that it has become such a great show. Without that, I don't think he would have the durability to think so deeply. There are not many people in the world who have that kind of thing. The adventures of that time are reconstructed, and can be interpreted in various ways, but it makes the recipient dig deeper and think, "I wonder if this is what he felt at that time." In other words, it feels like I'm being gently handed a strategy guide for the RPG called "Hanyu Yuzuru.”

 

—Certainly, there were strategy guides for games.

 

Hara: This was especially true in the 90s and 2000s, but after a game was released, a thick, dictionary-like guidebook called "Kaitai Shinsho"(3) [Dissecting the Story] would be published, which contained everything about the game. It was a book that contained various information about the game, such as "how the story was set up" and "there are items that no one has yet discovered." Through this, you would later learn things you didn't know, or the setting was like this. My personal impression is that while "RE_PRAY" itself is a work that uses the word "game" metaphorically, it feels like a "dissecting the story book," a guidebook, or an explanation of the process that Hanyu has walked as a skater, a man, and a person. Each line, each scene, each story, it was the ultimate entertainment, and I enjoyed it, but at the same time, I took it as a confirmation that "that was the mindset he had with which he overcame those Olympics and World Championships.”

 

(3) Kaitai Shinsho / 解体真書 is the name of a series of game strategy books edited by Famitsu , published by Kadokawa , and published by KADOKAWA. It's also the name of an anatomical book written in Japanese and published in 1774. Thus, a game strategy book can also be seen as a book to dissect the story of the game.

 

—Mr. Hanyu's own "Kaitai Shinsho" (true book of dissecting the story). 

 

Hara: People who are deeply involved with games can really think about a lot of things in RPG’s works. So I myself felt a sense of nostalgia. It made me remember once again what I have received from the entertainment of games. I have never felt this way when watching an ice show before.

 

—Exactly what Mr. Hanyu said was that he wanted everyone to think through this show. He said that it was not necessary to give answers to the stories themselves.

 

Hara: That's right. There are so many different ways to receive the game, so I think it is fine to enjoy the game as it is, as entertainment. I think it is fine if people just see it as "Mr. Hanyu liked games". I think that's what he thinks.

 

—I was told that while there is a core game theme, the show is also designed to be enjoyed by those who are not familiar with the game.

 

Hara: That's what I thought was amazing. I think it has a capacity for inclusion and durability. People who don't know about it can enjoy it in their own way, and I think everyone returns home saying, "I've seen something good.” The reason why this is possible is because there are solid roots, and also because he himself has a tremendous depth of knowledge and feeling about games. The fact that he dares to narrow down the theme is, in a sense, a sign of his confidence. It means that we are confident that our content will have a great impact on certain people, and that people who are unfamiliar with the world of the game will leave satisfied. In order to make this happen, we have a team of top-notch professionals to manage the show, including the director, MIKIKO. I don't think we could have done it if even one of those pieces were missing. The visuals are really beautiful, and the show is well executed. The show is a great example of the kind of professionalism that is reflected in the various aspects of the show, so that no one is left behind.

 

—Mr. Hanyu alone is in charge of this. It is an amazing feat, isn't it?

 

Hara: It's amazing. Perhaps, in a sense, overseeing and advancing them one by one is a game for you, Mr. Hanyu. Before, "winning the competition" was a game for you, and you had to hone many skills and expressions and build up your body in order to win. Now, I think that "managing the ice show by yourself" is your game, and you are challenging yourself to practice at the rink in Sendai during the night, to build up one by one, and to make various decisions, I guess.

 

—I think this commentary is possible only because of Mr. Hara. I didn't realize that you also have a deep knowledge of games.

 

Hara: It's just a coincidence (laughs). But there may be a generational affinity. I myself have been influenced by games in my costume design and music activities, and that is no small thing.

 

—Influences from games include storytelling, character design, and music.

 

Hara: Games are really a comprehensive art form, and I was able to reconfirm once again that even in the 90's, they were a form of entertainment of the highest purity. Because the subject of games has been completely sublimated into a new type of entertainment that no one has ever seen before, such as "RE_PRAY," a new type of ice show. It is very interesting, and I think it is wonderful that she, MIKIKO, the director, and the people who organized the show were able to shine a light on it. Anyway, my first thought after seeing the performance was, "I have to see this many times!” I was very impressed by the performance and the people who organized the show, including Hanyu and MIKIKO.

 

—There seems to be a lot of areas that we have yet to discover.

 

Hara: There must be a lot of them. I personally thought of this show as a “Kaitai Shinsho”  ("dissecting the story book") of Hanyu's process up to now, but to understand the show itself, I think you need a different strategy guide (laughs).

 

—I am sure it will be a very thick book. By the way, have you ever talked about games with Mr. Hanyu?

 

Hara:  I once asked him a little about what kind of games he played in the early days of Fantasy on Ice. So I gave him a CD of game music that I liked. There was a CD that recorded "Final Fantasy" music with a live band performance, and I really liked it. It was no longer the era of CDs, so I gave it to him saying, "You might not listen to the CD, though." I remember talking about "Final Fantasy" at that time. The recent songs of "Final Fantasy" are quite intense, and there are many rock numbers. So I said, "This part is really cool, isn't it?" But I never had a deep conversation about "Undertale" or anything like that.

 

—You were surprised when you actually saw "RE_PRAY".

 

Hara: I was surprised. I had not expected that games had become so deeply embedded in Mr. Hanyu's creativity, expression and motivation, so I was surprised. And more than anything, it's a world I'm very familiar with. It really brought home to me that the way he delves into this kind of culture is what makes him so special, what makes him on another level.

 

—When the contents of "RE_PRAY" were first made public, how did you honestly feel about the subject matter?

 

Hara: Actually, this time, my team was in charge of the costumes for the pamphlet, so I had a rough idea of the concept at that time. Of course, I had no idea about the content, but I had heard at the time that the theme would be video games. So, I was thinking that we would use the world of video games to reconstruct Hanyu's experience in a meta-fictional way. But as for the content, I imagined something a little more casual, something that would depict Hanyu's childhood or his original experiences during his "innocent" period. However, when I actually saw the show, I was surprised to find that the content went much deeper than I had expected.

 

—-You didn't expect to see "Megalovania"?

 

Hara: I didn't expect to see a perfect mix of each era, from the pioneer days of video games to the more recent years. After all, it's not only the choice of "Megalovania" there, but also the fact that the song from "Biography of Estpolis" is used for the ending. “Biography of Estpolis" is also a legendary work, so I think it shows the depth of his roots in this area.

 

—Mr. Hara himself seems to be a true “dissecting the story book”.

 

Hara: I don't know if it's okay to dig this deep, but he said, "Please interpret it however you like" (laughs). So, interpretation itself is free, and I think it's fine. It's an endgame, so there's no answer, but by having different people analyze it in different ways, I think it becomes more interesting as content and matures, so it's good to have different perspectives. So I would like people in the game industry to see it. I would like people to reevaluate how big an impact the world of games has.

 

For example, achieving results in sports is often treated as something pure and righteous. On the other hand, there was talk of "game brain" a while ago, and in some cases, games are often said negatively, such as being bad for education. However, in fact, such things have had a positive effect on people at the top end of sports, which are considered to be pure and righteous. I think this is also evidence of that. So, I want people to reevaluate games themselves and know that they have a very positive effect. I think it was a show with enough power and impact to reevaluate the world in that way. On the other hand, I think that fans who are very knowledgeable about Hanyu will look at it in more detail and compare every move he made when he was an athlete, or see how a previous answer he gave in an interview led to that monologue.

 

—That means the show can withstand that much research, right?

 

Hara: Yes. That's the durability part.

 

—It really makes me realize just how amazing Hanyu is.

 

Hara: He thinks about it all by himself and doesn't take any breaks at all. I'm really in awe of the fact that he's been doing it for so long.

 

—It is also amazing that he has been able to achieve three such shows in the one year since he switched to pro.

 

Hara: It's a bit extraordinary, isn't it? In the meantime, he also appeared in various other ice shows. I wonder "Why can he work so hard?" but I also think that he is probably calculating how many more years he can continue to perform in a way that will convince his fans with his performance, and that he is trying to do everything he needs to do now. He is risking his life to realize as many of the things he envisions while he can, to have as many fans as possible see it, enjoy it, and have it engraved in their memories. I have been feeling this myself recently, but there is a limit to the amount of expression and content that one person can deliver to the world in their lifetime. So, "How much and what can I leave behind in the rest of my life?" is a battle with myself and a dialogue with myself. That's why I respect Hanyu as a fellow performer and challenger, and I support him. On top of that, if there is even one thing I can be involved in, I would like to cooperate with him with all my might. It's a bit unusual, isn't it? But I am also a spectator who always enjoys the event. I would be more than happy if I could experience each and every action that Mr. Hanyu creates as a recipient.

 

Taketoshi Hara

He began his career as a guitarist in his 20s, and participated in numerous recordings and sessions from his early 20s. After working in music in New York, he began his career as a costume designer. His highly original designs based on his musical knowledge have been highly praised both in Japan and overseas. After his return to active competition, he has designed costumes for Daisuke Takahashi and Kana Muramoto, as well as Stéphane Lambiel, Denis Vasiliev, and Kao Miura, and has worked on costumes for ice shows such as "Fantasy on Ice" and "Notte Stellata". The 2021-22 RD "Soran Bushi" by the Muramoto/Takahashi pair has been nominated for the Best Costume Award at the ISU Skating Awards 2023.

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 92-93
Info: https://x.com/AxelQuadruple/status/1790029567777763837

 

Quardruple Axel May 2024 Issue: Shoichiro Tsuzuki’s Words

 

Shoichiro Tsuzuki who watched RE_PRAY in Yokohama. 
Written by: Naoko Utsunomiya

 

Spoiler

His seat was at the front on the ground floor. There were many spectators from China around the seats. 

 

"Then, one after another, they came to me and asked me, "Can I ask you to sign your name?", "Can I take a photo with you?" Well, I was also surprised. I must have written "Tsuzuki Shoichiro" more than 200 times that day just before the ice show started and during intermission. I think everyone originally wanted Hanyu’s autograph. But after all, there was no such opportunity, so they came to me. It’s inevitable.” 

 

Tsuzuki laughed and spoke. Then he started gushing about Yuzuru Hanyu as usual. 

 

During the conversation that day, he referred to Hanyu as "god." Also calls him "Universe". At times like this, Tsuzuki always looked proud. 

 

"Hanyu is really full of fighting spirit. His movements are no different from those currently competing".

 

Tsuzuki’s overall impression of RE_PRAY is this. 

 

"In terms of the overall composition, I think Hanyu was thinking "Let’s do it!" and wanted to present everything during this period of time (during the performance). This is the same side as when he was competing, a side that challenges the new world. I think he probably wanted to show everyone that "it's possible to do figure skating like this without being bound by the rules." His figure skating is really amazing. Not a note off at all. It can be said that he is expressing the notes one by one. 1, 2, 3, 4, all the notes are represented.  Hanyu is truly a professional. I think he himself also wants everyone to see 'This is what Pro is like'."

 

I (note: columnist Naoko Utsunomiya) watched RE_PRAY at the movie theatre. What Hanyu does is figure skating that makes people feel his soul. Or should I say, it is figure skating that cuts off all escape routes. I think I got a glimpse of his way of survival. 

 

"He must have gone through a lot of practice. Otherwise, he wouldn’t be able to do such moves. After all, it’s such (high-level) skating and technique. The same goes for jumping. Even when jumping in a very intense performance, there were almost no mistakes. Although the current athletes are also performing difficult elements, from a performance perspective, I think Hanyu is better. That kind of performance is what Hanyu has mastered since he became a professional skater, and it has become a brand-new weapon for him. Moreover, he has to skate for 2 hours straight, which requires a lot of physical strength. I can only marvel at that. Looking around the world, no skater can do what he does. Even skaters who have achieved great results in the past will have a decline in their level after retirement. Hanyu would not allow this. He always gives people the best performance. Therefore, he also has to make a thorough effort. There is no room for error. When I watched the ice performance live this time, I thought, "Oh, it turns out that he can already do such a thing," and tears welled up."

 

In Yokohama, Hanyu mentioned in his speech, "Thank you everyone for your support." My power is so small." Tsuzuki commented on this. 

 

"I think it’s because he feels a sense of unity between all the viewers and himself. There was a feeling of spiritual connection between the audience and the performers in the venue. It is not often possible to create such an atmosphere during ice performances. I felt something beyond the soul. Hanyu, he has become a god. I feel like the god of figure skating is performing".

 

Not a king, but a God. Tsuzuki looked full of pride. I also interjected from time to time: "Yes, it is true." 

 

Yuzuru Hanyu’s figure skating can be said to be a blessing for viewers. And this is especially true after he left competitions. I think the audience has also broken away from the rules and become freer. 

 

Regarding Hanyu’s statement, “I have no confidence in myself,” I asked Tsuzuki what he thought. 

 

"How to put it, I think what lies behind "lack of self-confidence" is actually the idea of "I could have done more", which is a confrontation with himself. I think it is precisely because he is so unwilling to admit defeat that he would say this. No matter in the past or now, he is working very hard to cultivate himself. Then, he will continue to challenge the future from now on. In what way will he create? Really looking forward to it. Hanyu now interacts with people from various fields. Ultimately, I think this is because many people are surprised by Hanyu as a person, impressed by him, and also have expectations for him. Hanyu has the ability to make top people think, "I want to try this next time." Because of this, there are people who continue to provide him with various opportunities to challenge. People who feel Hanyu's charm naturally gather around him. Isn't that what he is like now?"

 

During the interview, Tsuzuki always smiled. He couldn't help but raised his voice several times and laughed out loud. 

 

"So, Yuzuru Hanyu has become a person who can become a god in figure skating. He has gone far beyond my imagination. It’s already infinite. It’s the universe. The world of the universe", Tsuzuki said.

 

Yuzuru Hanyu has the power to make people happy. He probably knows this himself. Because of this, he always "pours his soul into skating." I think so. I wish him the best of luck.

 

[Wintek]

*Machine translation from Japanese to English. Inaccuracies exist*

 

Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 120-127
Info: https://www.yamakei.co.jp/products/2823907850.html

Quardruple Axel May 2024 Issue: Special Feature: Yuzuru x Phiten
 

For the Best Performance

In August 2023, Yuzuru Hanyu participated in an advertising shoot and product meeting with Phiten, with whom he has an advisory contract. He passionately discussed his personal use and experience with the "Kenko-yoku Shower" that he regularly uses. He suggested matching the limited edition color of the "RAKUWA Necklace Wings Gold," which he wears during his performances, to his ice show costumes. Additionally, he provided active feedback as an advisor, discussing new product ideas related to the five-finger socks he has used since his competitive days, while checking the texture of the materials.

Interview & Text by Editorial Division

"Kenko-yoku Shower" Greatly Contributing to Thorough Health Management

The product meeting was held in Sendai City. As this was the first meeting since Yuzuru Hanyu turned professional, the staff greeted him with a sense of excitement. Hanyu entered the room calmly, as usual, and greeted President Yoshihiro Hirata and the staff present with, "Thank you for creating this opportunity today." He seemed eager to explore Phiten's products after a long time, and soon started exchanging opinions as he picked up the new items.

Spoiler

At the beginning of the meeting, Hanyu showed interest in the "Kenko-yoku Shower," a light device that combines Phiten’s technology. "Kenko-yoku" refers to a light emitted by shining light on silicone or resin materials infused with Phiten’s proprietary MCC (Metax Carbon Ceramic) substance. It has been confirmed that applying "Kenko-yoku" light to the body relaxes muscles in the exposed area, and it is also suggested that it helps reduce wrinkles (For more details, visit: https://www.phiten.com/official-news/ys-02-bodycare/). This device allows for both body and skin care in one unit, addressing physical discomfort and skin troubles. It is used in medical settings and for athlete care as well.

When asked by President Hirata about his experience with the product, Hanyu responded, "Thank you. Of course, I use it to relax, but it’s also convenient during travel," explaining how he incorporates it into his daily life.

"What I use it for the most is actually before practice. It quickly improves circulation during warm-ups, helps loosen the adhesions between muscle tissues, and it heats up the body quickly. Another advantage is that it doesn’t restrict movement while I’m using it during warm-ups," Hanyu revealed, discussing the benefits he’s noticed from using the product.

Having transitioned to being a professional, Hanyu faces the tough challenge of solo performances, which requires more training than during his competitive days in order to express the details in over 10 programs. Proper care is essential, and thorough warm-ups are necessary to avoid injury. Hanyu, with his athlete’s perspective, also mentioned using it for recovery after practice or training. "It’s also easy to use for relieving the day’s fatigue or for starting the day off comfortably as a body care item," he said with a smile.

"The improvement where you can switch between ‘sound on’ and ‘sound off’ is really convenient. When using it while traveling or during sleep, you really want to avoid noise," Hanyu added.

Hanyu primarily uses the "Kenko-yoku Shower Belt," which wraps around the waist or abdomen to apply the light, and also the "Kenko-yoku Shower Multi-Belt," which allows for the light to be applied to various parts of the body. The multi-belt can be wrapped around areas like the neck, knees, waist, and elbows to secure the light in place, directly targeting the desired area for care. He mentioned that he found it especially useful during the 2022 Beijing Winter Olympics, which was his third appearance at the games.

"What I appreciate is that it comes with Velcro on the back of the light," he commented, adding, "The multi-belt is easier to carry around." He pointed out the convenience from a user’s perspective.

"Since I’m slim, the belt length sometimes ends up being too long, but the multi-belt fits perfectly, so I was really glad when it came out. When using it for warm-ups, it doesn’t move around once you wrap it all the way, so I think this option might be better," he explained, showing his familiarity with the product’s features and mentioning that he sometimes uses up to eight lights simultaneously. "At home, I’m always walking around with this (Kenko-yoku Shower Belt) on. Especially during the winter, I was using it all the time, so I would end up with a jacket over it and my stomach would look really big (laughs). It’s also easy to use on the knees and the back of the thighs. I’ve even placed it on my calves and gone to sleep," he shared, noting that the area he finds it most useful for is his lower back. That day, he demonstrated wrapping it around his waist and taking a stretch pose. President Hirata was surprised by how skillfully and comfortably Hanyu used the product. Hanyu mentioned specific joint names, adding, "I sometimes loosen this joint a bit before stretching, or for example, if I have stomach issues, I apply it to both the front and back at the same time. I also have asthma, and my thorax tends to get tight, so sometimes I sleep like this (placing the belt on the area from the throat to just above the chest), or like this (placing the belt vertically from the throat down to the abdomen). Additionally, after consuming energy drinks or other caffeinated products, which put stress on the body, I find it helpful, and I also think it can be used for diaphragm care," he explained, sharing various ways he incorporates the device.

Hanyu is proactive in reading overseas papers, learning about body parts, movements, and care techniques, and has established his own methods for training and adjustments. "When I first got this device, I researched how to best use it for myself. I started by imagining the area I wanted to warm up and thinking about how to best activate it. I would also look at anatomy charts to understand what tissues surround the area—whether it's bone, muscle, tendon, or internal organs—and then I would think about the best way to apply the Kenko-yoku light, testing and feeling the effects as I used it," Hanyu explained, with the staff nodding in agreement.

When Hanyu asked, "Basically, is it okay to use it on any part of the body except the eyes?" President Hirata responded, "You can use it over the eyes with an eye mask or with your eyes closed. You should notice a difference in 10 to 20 minutes (of use). I believe it will aid in your body’s recovery, and I hope it will be helpful in your future activities," he advised.

Additionally, President Hirata surprised Hanyu by revealing plans for a new product. "It should be completed soon, so please look forward to it," he said, prompting Hanyu to exclaim in excitement. President Hirata also expressed his desire to seek Hanyu’s feedback on the new product, to which Hanyu responded, "That’s exciting. I’m really looking forward to it," expressing his enthusiasm.

Limited Edition Necklace with "Red" Components Now Commercialized

Next, Yuzuru Hanyu picked up a necklace. Noticing the texture, he commented, "The texture has changed," to which the person in charge responded, "Yes, it has changed." They added with a smile, "The feather motif is very popular with customers."

When Hanyu saw the design featuring a predominantly red color scheme, he shared, "This is off the record for now, so it's a bit difficult to talk about, but in one of the climaxes of my upcoming show (the ‘Yuzuru Hanyu ICE STORY 2nd RE_PRAY,’ which started in November 2023), I’m actually using a color very similar to this."

A cheer of "Ooooh!" rose from the meeting room.

Hanyu commented, "I haven’t really used a lot of red tones before, so I think it's interesting," noting that the color blue is strongly associated with his image. Phiten was well aware of this association, so their attempt with red was a deliberate challenge. "We’ve always had a strong blue image, so we decided to take on this challenge," said one of the staff members.

At the same time, Hanyu picked up a white design, which is close to the image of "RE_PRAY," and remarked, "White is beautiful too. I think white is also nice." As he was deliberating between the colors, President Hirata mused, "If your costume is red, then white might stand out more."

Right then, the person in charge [T/N: it seems this refers to Yuzu as the person who is testing the products?] checked whether it was possible to change the color of the top part of the necklace. A staff member explained, "Yes, we can do that. For example, we can change the top part to red or any color combination you like. We would love to get your advice on this." Hanyu immediately began experimenting with different color combinations, imagining how it would look with his costumes. He tried on a version where the surrounding decorations were red and the top part was white, and smiled as he said, "I think this could work. If we match it with the costume, I think it would be a good option." He continued, "This color combination is really rare for me since I haven’t worn it much before. Though there are time constraints, it might be interesting to change the necklace according to the costumes during the show," letting his imagination run free.

The staff then proposed providing Hanyu with parts in all colors, allowing him to mix and match according to his costumes. Hanyu smiled and said, "They’re all beautiful. It might be a good idea to change them between the first and second parts of the show."

The model that Hanyu wears is extremely popular among his fans. On the day of his solo performance "GIFT" at Tokyo Dome in February 2023, the 1,660 necklaces prepared for sale at the venue sold out in about 15 minutes.

Hanyu commented, "For me, the fact that people’s awareness of health might change because they like something I use, design, or create according to the concept of the show or program is really gratifying. Of course, some people may initially come for health reasons, but I think there are also those who discover that they can improve their health through design. I hope they enjoy it," expressing his anticipation for the positive effects of this combination.

Hanyu also picked up another model, saying, "I think this one is interesting too," referring to the special 40th-anniversary commemorative model "RAKUWA Necklace REVO." He was impressed by the substantial feel of the beautifully cross-motifed top design. The top part contains an LED lens that emits "Kenko-yoku," allowing the wearer to benefit from it just by wearing the necklace, a product that incorporates Phiten's top-notch technology. President Hirata, proudly introducing it, said, "This is one of Phiten's most confident technological achievements," to which Hanyu, leaning forward with excitement, responded, "I really like gadgets like this."

Hanyu then mentioned the weight of the necklace, saying, "If I had to point something out, the weight might be a concern." President Hirata acknowledged this and said, "Yes, our next challenge is to see how compact we can make it while retaining the same functionality. We’ll be considering it from both a functional and structural perspective moving forward," leading to a constructive discussion.

Hanyu also showed particular interest in the color options. While eager to start using it immediately, the current color is silver, and Hanyu expressed his preference, "I don’t like wearing silver on my chest, so I’d prefer it in gold," making the request on the spot. President Hirata responded, "Understood, we’ll take your preference into consideration," showing a willingness to explore the idea.

Note: The "RAKUWA Necklace Wings Gold" limited edition model commemorating the sponsorship of "Yuzuru Hanyu ICE STORY 2nd RE_PRAY" was released on April 30th (priced at 39,600 yen, tax included). Both the "red" and "white" top parts worn by Hanyu during his performances were made available, and they can be swapped with existing "RAKUWA Necklace Wings Gold" (sold separately).

 

New Socks: The Keywords are "羽・生・結・弦"

Next, Yuzuru Hanyu picked up four types of socks, which had just been released in May. The staff member explained them with enthusiasm.

"This time, we have incorporated each kanji character from Yuzuru Hanyu’s name into the concept of the product. The first one, ‘羽’ (hane - feather), represents lightness and ease of movement, which is the theme. The second, ‘生’ (sei - life), focuses on warmth and care for everyday living. The third, ‘結’ (yui - tie), emphasizes compression and recovery. Lastly, the character ‘弦’ (gen - string) conveys protection and elasticity, with the concept of impact absorption."

Regarding the first sock, ‘羽’ (hane - feather), the material uses lightweight washi (Japanese paper) fiber. After listening to the explanation, Hanyu, with great interest, checked the texture and also looked at the product pamphlet. The staff member said, "Thin socks tend to tear easily, but washi is highly durable and resistant to abrasion, so it can be used for both sports and daily life for a long time." Hanyu responded, "That's true. It feels great. Many skaters prefer to skate barefoot, and this thin paper material might give a similar feeling. It’s nice. I definitely want to try it," expressing his enthusiasm. The new product is also designed to be lightweight, with each sock weighing about half of what Hanyu’s previous socks weighed (his previous socks weighed 60g). Hanyu was amazed, saying, "Wow, they’re incredibly light!"

Additionally, the socks have excellent moisture-wicking properties, making them less likely to cause discomfort from sweat. Hanyu commented, "Skate boots are generally made of leather, so even in the design of the boots themselves, ventilation is considered. Compared to the socks I’m currently wearing, these seem better," giving a favorable impression.

The socks designed under the concept of ‘生’ (sei - life) for warmth and care use a blend of wool from New Zealand and Australia, making them thick, warm, and soft. These socks are similar to the type Hanyu has long favored, and he remarked, "They look comfortable."

The fourth sock, ‘弦’ (gen - string), is designed for high elasticity and impact absorption, even on hard surfaces like concrete or flooring. The material is organic cotton, and the staff explained, "The concept is to be gentle on the skin and the environment."

Each of the four types—Performance, Relaxation, Recovery, and Protection—covers essential aspects that are crucial for athletes.

Among all four types, the washi material socks caught Hanyu’s interest the most. "I’m really curious about these. I’d love to try them," he said, picking them up again. Reflecting on the possibility of switching from the five-toe socks he had been wearing since he was 8 years old, he added, "I never thought the day would come…" The room erupted in laughter.

Hanyu’s fondness for five-toe socks is closely tied to his life as a skater.

"The inside of figure skating boots is incredibly cold. I used to wear regular socks (without separated toes), but because the boots are so tight, the combination of cold and moisture from sweat caused my toes to stick together. However, with five-toe socks, each toe is separated, allowing them all to move like they would when barefoot. I find it easier to control the fine movements, which is why I use them."

While Hanyu often spends his days barefoot, he remarked, "It’s fascinating to see that there are so many types of socks, each with its own functions for different scenarios. Just thinking about and seeking out the functionalities of socks is really interesting," indicating that he thoroughly enjoyed the meaningful time spent exploring these products.